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C  ()  .At  P  A  N  I  O  N 


BRYAN    GALLERY 


CHUISTIAN    ART: 


(  KiTK  AL  DEftCTUPTIONS  OF  THE  PICTURES,  AND  BIOGRAPHICAL 
SKETCHES  OF  THE  PAINTERS ; 


I  \  I  h-(i  P 


\  \  1 »     \  N     1  N  I )  !•:  \ 


tM<    tlA!M>    CHANT     WHITE. 


;ALLKUV,    .s4:;     P>1M)A1>WAV 


NEW   YORK: 

HAKl.i:,    (GODWIN    &    CO.,    PRINTERS, 

,ORNf  \XD    SPRITK    STRKKTS, 

1853. 


m 


COMPANION 


BRYA^i    GALLERt 


CHEISTIAN    AKT: 


CONTAINING 


CRITICAL  DESCEIPTIONS  OF  THE  PICTUEES,  AND  BIOGRAPHICAL 
SKETCHES  OF  THE  PAINTERS ; 


INTRODUCTORY    ESSAY,    AND    AN    INDEX, 
BY 

RICHARD    GRAXT    WHITE. 


NEW   YORK: 
BAKER,    GODWIN    &    CO.,    PRINTERS, 

CORNER    NASSAU    AND    SPRUCE    STREKTS. 
1853. 


/h'f.  <^tfa7. 


M. 


^ 


Tf 


Digitized  by  the  Internet  Archive 

in  2010  with  funding  from 

Research  Library,  The  Getty  Research  Institute 


http://www.archive.org/details/companiontobryanOObrya 


PREFACE 


The  Proprietor  of  the  Bryan  Gallery  having  re- 
quested the  author  to  prepare  a  Hand-book  for  it 
he  undertook  the  task  with  pleasure ;  but,  though 
not  altogether  without  experience  in  such  labors,  he 
did  not  foresee  either  the  extent  of  the  demand 
which  the  work  would  make  upon  his  time,  or  the 
great  satisfaction  which  would  accompany  the  study 
needful  for  the  proper  appreciation  of  the  pictures 
which  he  was  called  upon  to  describe.  The  product 
of  his  labors  seems  comparatively  small  in  bulk ;  but 
only  those  who  have  the  knowledge  given  by  expe- 
rience can  judge  correctly  of  the  time  and  the  labor 
required  for  such  a  close  examination  and  comparison 
of  nearly  two  hundred  and  fifty  pictures  as  must  be 
made  before  a  proper  description  of  them  can  be 
written,  or  for  the  collection  and  condensation  of 
materials  from  various  quarters  for  the  preparation 
of  succinct  biographical  notices  of  one  hundred  and 


IV  PREFACE. 

fifty  painters.  The  author's  aim  has  been  no  more 
ambitious  than  to  present  such  a  description  of  the 
pictures  as  would  insure  a  readier  apprehension  of 
the  designs  of  the  painter,  and  such  criticisms  as 
would  suggest  reflection  upon  their  intrinsic  and 
distinctive  merits  and  characteristics.  The  biogra- 
phical notices  of  the  painters  cannot  fail  to  be  wel- 
come to  those  who  think  with  Kichakdson,  that 
"  when  one  sees  an  admirable  piece  of  art,  it  is  a 
part  of  the  entertainment  to  know  to  whom  to  attri- 
bute it,  and  then  to  know  his  history." 

This  Gallery  has,  in  its  historical  character,  an  im- 
portance not  possessed  by  any  other  ever  opened  to 
the  public  in  this  country.  The  rise  and  progress  of 
each  of  the  great  schools,  the  Italian,  the  German, 
the  Flemish,  the  Dutch,  and  the  French,  can  be 
traced  by  characteristic  productions  of  those  schools, 
in  all  the  stages  of  their  development,  which  hang 
npon  these  walls.  This  peculiarity  of  the  Collection 
is  almost  of  equal  importance  with  the  intrinsic 
beauty  and  excellence  of  a  large  portion  of  the 
works  which  compose  it.  It  will  be  noticed  else- 
where, that  the  author  declines  to  express  any  opin- 
ion upon  the  authenticity  of  the  many  pictures  here 
which  bear  some  of  the  greatest  names  in  art ;  but 
he  wishes  it  to  be  understood  that  he  does  this  solely 


PREFACE. 


on  account  of  bis  entire  want  of  confidence  in  liis 
ability  to  speak  witb  tbe  least  autbority  upon  tbat 
subject.  It  is  almost  needless  to  say  tbat  tbe  intrin- 
sic merits  of  a  work  of  art  bave  notbing  to  do  witb 
tbe  question  wbetber  it  was  painted  by  tbis  or  tbat 
artist ;  and  it  is  to  tbe  consideration  of  tbese  merits 
tbat  tbe  autbor  bas  confined  bimself,  except  in  two 
or  tbree  instances  in  wbicb  tbe  autbenticity  of  tbe 
works  seemed  to  be  determinable  by  induction. 
'Tbe  knowledge  necessary  to  determine  tbe  autben- 
-ticity  of  pictures  from  tbe  manner  in  wbicb  tbey 
are  painted,  involves  long  and  close  comparative 
study  of  tbe  best  and  tbe  liistorically  autbenticated 
works  of  tbe  masters  to  wbom  tbey  are  attributed  ; 
witbout  wbicb  no  one  can,  witb  any  semblance  of 
reason,  pretend  to  decide  sucb  questions.  Of  tbis 
study,  tbe  proprietor  of  tbis  Gallery  bas  bad  tbe  ad- 
vantage. From  bis  knowledge  of  tbe  mecbanical 
part  of  tbe  art,  and  bis  extended  opportunities  for 
tbe  observation  of  tbe  works  of  tbe  Great  Masters 
in  Europe,  be  was,  aside  from  bis  cultivated  taste, 
eminently  qualified  for  tbe  labor  wbicb  be  assumed, 
and  tbe  admirable  result  of  wbicb  is  now  before 
tbe  public.  Indeed,  not  tbe  least  interest  wbicb 
attacbes  to  tbe  Collection  arises  from  tbe  manner  in 
wbicb  it  was  luade.     Mr.  Bkyan  bas  boui^bt  and 


Tl  PREFACE. 

cleaned  his  pictures  himself;  and  of  those  which  he 
thus  laboriously  brought  to  light,  he  has  rejected  six 
for  every  one  which  now  hangs  upon  his  walls.  But, 
in  spite  of  his  unwillingness  to  appear  in  the  char- 
acter of  an  expert  in  old  paintings,  the  author  would 
not  do  himself  justice,  to  say  nothing  of  justice  to 
the  Collection  and  its  proprietor,  did  he  not  state 
that  his  confidence  in  the  correctness  with  which 
the  works  have  been  attributed  to  the  various  Mas- 
ters whose  names  they  bear,  as  well  as  his  admira- 
tion for  the  intrinsic  beauty  of  most  of  them,  and 
his  interest  in  the  Collection  as  a  whole,  has  in- 
creased, ^ctWj!?«^5'?^,  with  his  study  of  the  paintings. 

The  author  is  well  aware  that  his  labors  will  prove 
in  many  respects  unsatisfactory  to  those  who  may 
visit  the  Gallery  frequently  enough  to  obtain  a  just 
appreciation  of  the  treasures  it  contains.  Much 
more  might  have  been  said  about  many  of  the  pic- 
tures :  but  it  was  desirable  to  compress  the  work 
within  a  cheap  and  convenient  form ;  and  more  de- 
tail would  have  prevented  conformity  with  this  de- 
sign. To  one  person,  however,  the  Companion  must 
justly  and  reasonably  appear  more  unsatisfactory 
than  to  any  other  ;  and  this  is  the  proprietor  himself. 
For,  as  the  accomplished  Mrs.  Jameson  says, — 

"  Kot  only  it  is  impossible  to  flatter,  but  impos- 


PREFACE.  Vll 

sible  even  to  satisfy  the  proprietor  of  a  fine  collec- 
tion, by  any  catalogue  raisonne  of  his  pictures,  how- 
ever accurate  or  laudatory ;  and  this  for  reasons 
which  have  nothing  to  do  with  the  mere  pride  of  the 
owner  in  that  which  is  his  own^  but  with  worthier 
and  deeper  feelings,  in  which  we  can  truly  sympa- 
thize. All  who  possess  fine  pictures,  and  really  love 
them,  are  familiar  with  minute  beauties,  which  it  is 
a  mortification  to  have  passed  over.  Every  good 
picture  (by  which  I  mean  every  picture  which  has 
something  good  in  it)  is  not  mere  surface  and  color ; 
it  lias  a  cmmtenance^  like  the  countenance  of  a 
friend,  or  a  lover,  of  which  certain  expressions  are 
revealed  only  to  certain  eyes  at  certain  moments. 
Then,  there  are  the  associations  of  long  acquain- 
tance ;  accidental  gleams  of  lamp  or  sunshine  have 
lighted  up  the  shadowy  nooks,  and  startled  the  eye 
with  revelations  of  hidden  beauty  and  meaning ; — or 
in  hours  of  lassitude  and  sorrow — hours  when  the 
"fretful  stir  unprofitable"  of  this  painful,  actual 
world,  has  hung  heavy  on  the  spirit — the  light 
breaking  from  behind  the  trees,  or  far-off  distance, 
stretching  away,  away,  and  leading  the  fancy  after 
it,  till  it  melts  into  Elysium, — or  rural  groups — rev- 
els of  satyrs  or  clowns — or  face  of  pure- eyed  virgin 
or  serene  saint — has  arrested  the  troubled  course  of 


VIU  PREFACE. 

thought,  and  stamped  a  consecration  on  certain  pic- 
tures, which  it  would  be  a  pleasure  to  see  commemo- 
rated, but  which  no  accidental  visitor  can  enter 
into," 

"  And  then,  again,  there  is  some  one  favorite  pic- 
ture preferred,  not  so  much  for  its  intrinsic  merit, 
but  because  it  has  been  obtained  with  difficulty, — 
has  been  comj^eted  for,  conquered  from  some  rival 
amateur, — or  it  is  a  recent  acquisition,  and  "the 
honeymoon  is  not  yet  over,'- — or  it  has  been  picked 
up  for  a  trifle,  and  turned  out  a  prize, — or  it  has  been 
rightfully  or  wrongfully  doubted  and  abused,  conse- 
quently has  assumed  an  exaggerated  value  and  im- 
portance in  the  mind  of  the  possessor,  even  from 
the  force  of  contradiction — who  knows  ?  iNow,  one 
cannot  well  put  these  delightful  dilettante  fancies 
into  a  catalogue  raisonne  /  but  how  truly,  deeply, 
cordially,  one  can  understand  and  sympathize  with 
them !" 

From  that  overweening  confidence  in  the  supreme 
excellence  of  every  work  in  their  possession  which 
most  owners  of  collections  of  pictures  exhibit,  Mr. 
Bryan  is  singularly  free;  and  the  frankness  with 
which  he  points  out  an  intrinsic  defect  or  an  injury 
which  accident  or  time  has  done  to  one  or  another  of 
his  paintings,  is  as  delightful  as  it  is  rare,  and  begets 


PREFACE.  IX 

a  confidence  in  his  judgment  when  he  speaks  with 
unqualified  praise  with  regard  to  any.  On  only 
one  point  does  the  reader  need  to  be  protected  from 
a  misunderstanding  of  the  terms  of  praise,  which, 
on  the  authority  of  the  proprietor,  are  bestowed  in 
these  pages  upon  any  work  in  the  Collection.  When 
it  is  said  of  a  picture  that  no  finer  exists,  it  must  not 
be  understood  that  a  more  important  composition 
of  the  Master  does  not  exist,  but  that  the  specimen 
here,  exhibits  his  highest  quality  of  excellence. 
Thus,  there  is  one  j)icture  by  Teniees  which  contains 
more  than  twelve  hundred  figures ;  but  the  reader 
will  easily  understand  that  the  Parable  of  the 
Laborer  in  this  Collection,  which  contains  but  ten 
figures,  may  be  an  equally  beautiful  and  character- 
istic exhibition  of  the  painter's  power  of  embodying 
character,  his  delicacy  of  touch,  his  pure  rich  color, 
and  his  distribution  of  light. 

It  has  been  the  aim  of  the  proprietor  to  collect  a 
gallery  which  should  not  only  give  pleasure  to  cas- 
ual visitants,  but  afibrd  efficient  aid  to  the  student 
of  the  history  of  Art :  if  the  author  have  accom- 
plished anything  in  this  Companion  which  will  in 
any  degree  further  that  design,  he  w^ll  be  content. 


INTRODUCTION. 


Hogarth  lias  a  great  many  imitators  in  his  contempt  for 
the  works  of  the  Great  Masters  of  Painting.     There  is  this 
difference,  however,  between  him  and  those  who  affect  to 
adopt  his  taste  :  he,  by  an  overweening  vanity  and  trust  in 
his  great  talents,  was  led  to  assume  an  indifference  to  the 
great  painters  of  the  past,  which  ended  in  making  him  ridi- 
culous in  spite  of  his  ability  ;  they,  by  a  more  overweening 
vanity  and  trust  in  their  great  ignorance,  assume  a  like  in- 
difference, which  makes  them  ridiculous  by  reason  of  theu- 
stupidity.      How  absurd  to  assume,  because  they  do  not 
find  at  once  all  the  beauty  in  a  great  painting  which  the 
world  has  seen  in  it  for  centuries,  that  therefore  mankind  for 
centuries  has  been  wrong,  and  they  alone  are  right !     But 
beside  these  persons,  there  are  many  others,  of  intelligence, 
and  but  a  modest  confidence  in  their  powers  of  appreciating 
art,  who  regard  the  claims  of  the  Old  Masters  to  superiority, 
at  least  with  suspicion  ;  and  who  think  that  it  is  unreasonable 
to  deny  that  the  art  of  painting  must  have  kept  pace  with 
the  worid's  advance  in  other  respects,  and  that  it  is  not  to  be 
believed  that  painters  were  of  necessity  more  skillful  three 
hundred  years  ago  than  they  are  now.     They  are  right  in 
one  of  these  assumptions,  and  wrong  in  another.     It  is  true, 
that  there  is  no  reason  that  painters  should  have  been  more 
accomplished  in  past  than  in  present  times.    There  has  prob- 
ably been  an  equal  proportion  of  indifferent  painters  in  the 
world  ever  since  the  revival  of  Art.     Hundreds,  thousands  of 


XU  INTRODUCTION. 

painters  have  passed  away  into  oblivion,  and  their  works 
have  followed  them.  It  is  only  the  great  men  and  the 
great  works  of  each  age  which  have  borne  unharmed  the 
wreck  of  time,  and  stand  lifting  their  heads  above  the  sea  of 
oblivion  which  has  overwhelmed  their  contemporaries.  As 
Hazlitt  pithily  remarked  of  the  works  of  the  painters  of  ages 
past  to  which  the  world  does  reverence,  "  They  are  not  good 
because  they  are  old,  but  old  because  they  are  good."  Were 
it  not  for  their  superiority,  they  would  not  have  survived,  to 
command,  through  centuries,  the  admiration  of  successive 
generations  of  men.  Common  law  is  the  fruit  of  the  com- 
mon sense  and  the  common  perception  of  justice  in  man- 
kind, which  is  attained  through  the  experience  of  ages.  Just 
this  common  consent  of  the  world  it  is,  which  has  set  the 
acknowledged  stamp  of  greatness  upon  Raphael  and 
Rubens  and  Murillo  and  Poussin,  and  their  fellows. 
Just  so,  the  common  sense  of  beauty  in  succeeding  ages  will 
set  its  mark  upon  the  great  painters  of  the  present  day,  when 
the  mass  of  their  contemporaries  will  long  have  been  forgot- 
ten. The  exclusive  admirer  of  modern  Art,  if  born  two  hun- 
dred years  hence,  would,  for  the  same  reasons  which  in- 
fluence him  now,  refuse  then  to  admit  the  superiority  of  the 
very  j^ainters  whom  now  he  glorifies.  Mrs.  Jameson  quotes 
aptly,  and  writes  justly,  when  she  says  : 

"  It  has  been  truly  said,  that  if  w^e  now  possessed  painters 
who  were  really  equal  to  R,aphael,  Van  Dyck,  Titian, 
Claude  or  Teniers,  '  yet  they  could  not,  nor  ought  they  to, 
be  thought  of  in  the  same  manner,  because  there  could  not  be 
the  same  proof  of  it,  nor  the  same  confidence  in  the  opinion 
of  a  man  and  his  friends,  or  of  any  one  generation,  as  in  that 
of  successive  generations  and  the  voice  of  posterity.  If  it  be 
said  that  we  pass  over  the  faults  of  the  former,  and  severely 


INTRODUCTION.  XUl 

scrutinize  the  excellences  of  the  latter,  this  is  also  right  and 
necessary,  because  the  one  have  passed  their  trial,  and  the 
others  are  upon  it.  If  we  forgive  or  overlook  the  faults  of 
the  ancients,  it  is  because  they  have  dearly  earned  it.'  On 
the  other  hand,  the  cant  of  ignorant  depreciation  has  done 
more  harm,  has  fostered  more  self-conceit  and  more  careless- 
ness among  our  living  artists,  than  the  adulation  of  certain 
partisans  and  admirers  :  it  has  made  them,  while  they 
worked  for  money,  despise  opinion ;  and  they  have  helped 
to  deprave  the  taste  they  have  in  their  hearts  despised. 
How  seldom  have  the  most  distinguished  of  the  men  I  have 
alluded  to,  painted  up  to  their  own  power  I" 

Sir  Joshua  Reynolds  says,  with  a  true  perception  of  that 
which  goes  to  form  the  truly  great  in  Art,  that  "  the  duration 
and  stability  of  the  fame  of  the  old  masters  of  painting  is 
sufficient  to  evince  that  it  has  not  been  suspended  upon  the 
slender  thread  of  fashion  and  caprice,  but  bound  to  the  hu- 
man heart  by  every  cord  of  sympathetic  approbation." 

That  our  taste  needs  the  invigoration  which  is  imparted 
by  the  contemplation  of  that  which  has  had  the  strength  to 
live  for  ages,  is  too  plainly  evident  in  the  character  of  most 
of  the  pictures  painted  for  our  Art  Unions,  our  fashionable 
picture  marts,  and  our  legion  of  illustrated  works.  Feeble- 
ness, and  its  sure  accompaniment,  exaggeration,  are  the  chief 
expression  of  these  inane  productions.  Floras  and  Doras, 
with  big  eyes  and  little  mouths,  big  arms  and  little  hands, 
big  busts  and  little  waists,  big  bustles  and  little  feet ;  mani- 
kin men,  all  forehead  and  favoris  ;  portraits  of  homely  old 
women  flattered,  in  Books  of  Beauty,  into  a  conventional 
prettiness  and  unnatural  youth,  far  more  repulsive  than  their 
own  actual  uncomeliness  :  such  are  the  works  of  art  which 
'  sell.'     These  be  thy  Gods,  0  Israel !     "  Xo  wonder  that 


XIV  INTRODUCTION. 

the  admirers  of  such  should  think  the  Delphic  Sibyl  '  mas- 
culine,' and  denounce  the  Hours  in  Guido's  Aurora  as 
'  coarse.'  "  We  are  too  apt  to  seek  in  pictures  only  one  of  the 
appliances  of  wealth  and  luxury,  or  the  food  for  a  marrow- 
less  dilettanteism,  or  else  the  petty  enjoyment  of  looking  at 
elaborately  smooth  representations  of  pretty  people.  And 
even  if  we  get  beyond  this,  we  are  inclined  to  demand  of 
every  picture  that  it  shall  be  perfect  in  all  points — composi- 
tion, form,  expression,  color,  light  and  shade,  costume,  every- 
thing. We  turn  away  with  a  sneer  from  a  work  miraculous 
in  chiaroscuro^  because  the  figures  are  fat  and  have  big  noses. 
We  are  untouched  by  the  most  pathetic  expression,  because 
of  a  badly  foreshortened  limb.  We  are  blind  to  the  most 
charming  eflfects  of  color,  and  the  happiest  disposition  of 
light,  because  there  is  an  anachronism  in  dress.  What  pre- 
posterous folly  !  There  is  an  English  print  of  a  picture,  the 
subject  of  which  is  Boaz  and  Huth,  in  which  Boaz  wears 
top  boots  and  a  body  coat,  and  Ruth  a  chip  hat  and  muslin 
slip.  Droll  as  this  extreme  anachronism  is,  the  picture 
might  be  a  jewel  of  art  in  spite  of  it.  There  are  no  such 
things  as  perfect  pictures.  Every  school  has  its  characteris- 
tic defects  as  well  as  its  peculiar  excellence  ;  and  every 
painter,  his  individual  faults,  as  well  as  his  particular  merits. 
Richardson,  whose  knowledge,  taste,  and  genuine  warmth 
of  feeling  placed  him  so  far  above  mere  connoissiem-ship  and 
dilettanteism,  said : 

"  If  in  a  picture,  the  story  be  well  chosen  and  finely  told, 
at  least,  if  not  improved  ; — if  it  fill  the  mind  with  noble  and 
instructive  ideas,  I  will  not  scruple  to  say  it  is  an  excellent 
picture,  though  the  drawing  be  as  much  short  of  precise  cor- 
rectness as  that  of  Correggio,  Titian,  or  Rubens  ;  the 
coloring  as  disagreeable  even  as  that  of  Polidore,  Battista 
Franco,  or  Michael  Angelo  :  nay,  though  there  is  no  other 


INTRODUCTION.  XV 

goodness  but  tliat  of  coloring  and  the  pencil,  I  will  venture 
to  call  it  a  good  picture — that  is,  that  it  is  good  in  these 
respects  : — in  the  first  instance,  here  is  a  fine  story  artfully 
communicated  to  my  imagination,  not  by  speech  nor  writing, 
but  in  a  manner  preferable  to  either  of  them  :  in  the  other, 
there  is  a  beautiful  and  delightful  object,  and  a  fine  piece  o 
workmanship,  to  say  no  more  of  it.  There  never  was  a 
picture  in  the  world  without  some  faults,  and  very  rarely  is 
there  one  to  be  found  which  is  not  notoriously  defective  in 
some  of  the  parts  of  painting.  In  judging  of  its  goodness,  one 
should  pronounce  it  such  in  proportion  to  the  number  of  the 
good  qualities  it  has,  and  their  degrees  of  goodness.  I  will 
add  that,  as  a  philosopher,  one  should  only  consider  the 
excellency  we  see,  and  enjoy  that,  as  being  all  belonging  to 
it ;  no  more  regretting  what  it  has  not,  nor  thinking  of  it  so 
much  as  to  diminish  our  pleasure  in  that  it  has,  than  we  do 
want  of  taste  in  a  rose,  speech  in  a  picture  of  Van  Dyck,  or 
life  in  one  of  Raphael." 

To  correct  the  defects  of  taste  at  which  we  have  glanced, 
we  could  desire  no  better  kind  of  discipline  than  the  thought- 
ful contemplation  of  a  collection  of  old  pictures  of  merit, 
formed  with  the  unprejudiced,  truly  catholic  taste  which  has 
guided  the  proprietor  of  this  Gallery.  And  let  not  those 
who  can  admire  the  productions  of  the  mature  and  palmy 
days  of  art,  sneer  at  its  feeble  efforts,  made  when  it  had  just 
become  conscious  of  its  heaven-born  inspiration.  A  brilliant 
modern  writer  upon  Art,  and  one  not  in  the  least  inchned  to 
yield  unduly  to  the  claims  of  antiquity — Mr.  Ruskin — has 
well  said,  that  "  the  early  efforts  of  Cimabue  and  Giotto  are 
the  burning  messages  of  prophecy,  delivered  by  the  stam- 
of  infants."     One  of  the  finest  features  in  this 


XVI  INTRODUCTION. 

Gallery,  and  one  which  it  has  in  common  with  no  other 
private  collection  in  the  world,  is  the  opportunity  which  it 
affords,  of  tracing  the  development  of  the  different  schools 
from  the  earliest  ages.  When  the  visitor  looks  at  some  cold 
and  formal  composition,  he  should  not  turn  away  and  wonder 
why  such  rubbish  is  preserved,  but  should  remember  that 
"  there  are  pictures  of  little  intrinsic  beauty  or  merit,  which 
yet  have  great  value  and  interest ;  they  mark  the  transition 
from  one  style  to  another,  or  they  mark  a  particular  phase  in 
the  life  of  the  individual  painter,  or  they  illustrate  a  certain 
aspect  of  faith,  of  civilization,  of  morals,  in  the  country  which 
produced  them.  Boundless,  beyond  what  the  uninitiated 
can  imagine,  are  tlie  associations  connected  with  a  taste  for 
the  Fine  Arts  ! — the  widening  of  the  horizon  round  us,  as 
knowledge  grows  out  of  love  and  the  clear  vision  perceiv^es 
and  embraces  the  relation  which  exists  between  things  appa- 
rently distant  and  dissimilar  !  But  do  such,  taste,  such 
knowledge,  such  extended  vision,  come  at  once,  or  by 
chance?  They  are  more  frequently  the  acquisition  of  a 
whole  life," 

This  brief  introduction,  made  up,  in  part,  from  the  thoughts 
of  others,  has  been  written  chiefly  from  the  sense  there  should 
be  a  threshold  over  which  to  pass  into  such  a  gallery  ;  and 
with  the  hope  of  doing  somewhat  to  direct  the  attention  of 
those  who  have  given  little  thought  to  Art,  to  the  remarkable 
opportunities  which  the  Collection  affords  for  the  acquisition 
of  knowledge  and  the  cultivation  of  taste  in  the  art  of 
painting.  The  author  sincerely  trusts  that  it  may  be  the 
means  of  imbuing  with  this  knowledge  and  taste,  thousands 
of  his  countrymen  who,  but  for  the  tact,  the  knowledge,  and 
perseverance  of  Mr.  Bryan,  would  never,  perhaps,  have  wor- 
shipped at  the  shrines  of  the  Great  Masters  of  the  past. 


WORKS    CONSULTED 

IN 

THE      P  K  E  1'  A  K  A  T  I  0  N      OF     THIS      \-  O  L  U  M  E  . 


Abreg^  de   la  Vie  cles  plus  fameux  Peintres,   par  B' Argcnville- 

3  vols.,  4to.     Paris :  1Y45. 
Biographie  des  Peintres  Flamands  et  Hollaudai^,  par  C.  H.  Balkema. 

8yo.     Paris:  1844. 
Histoire  des  Peintres  des  toutes  les  Ecoles,  par  M.  Charles  Blanc. 

4to.     Paris:    1849. 
Dictionnaire  des  Monogrammes,  <fce.,  par  Francois  BrulUot.     3  vols. 

4to.     Munich:  1832. 
Biographical  and  Critical  Dictionary  of  Painters  and  Engravers, 

by  Michael  Bryan  ;   edited  by  G,  Stanley.     8vo.     London  : 

1849. 
Vie  des  Peintres  Flamands  et  Hollandais,  par  JDescamps.     3  vols., 

8vo.     Marseille:  1842. 
Nouveau   Dictionnaire   Ilistorique,  par    Chandon  and  Delandine. 

13  vols.,  8 vo.     Lyon:  1804. 
Guide   des  Amateurs   de   Peinture,   par  Gault    de  St.   Germain. 

8vo.     Paris  :  1835. 
The  Fine  Ai-ts ;  their  Nature  and  Relation^-.     Descriptive  criticisms* 

of  certain  pictures  of  the  Italian  and  French  Schools,  by  M. 

Guizot ;  translated  by  G.  Grove.     4to.     London:  1853. 
1) 


XVlll  WORKS   CONSULTED. 

Cnticisms  on  Art ;  and  Sketches  of  the  Picture  Galleries  of  Eng- 
land, by  William  HazlitL     2  vols.,  8vo.     London  :  1848. 
The  Schools  of  Painting  in  Italy,  from  the  German  of  Kuyler ; 

edited    by  Sir    Ohas.    Eastlake,   P.  JR.  A.      2    vols.,    12mo. 

London:  1851, 
Storia  Pittorica  della  Italia,  dell'  Ahbate  Luigi  Lanzi.     3  vols.,  4to. 

Bassano:  1795. 
Dictionary   of  Spanish   Painters,    by  A.    O'NeH.      2   vols.,    Svo. 

London:  1833. 
A  Collection  of  Fac-similes  of  Rare  and  Curious  Prints,  <tc.,  by  Win. 

Young  Ottley.     Folio.     London:  1826. 
Dictionnaire  des  Peintres  Espagnols,  par  F.  Quillet,     8vo.     Paris  : 

1835. 
Ilistoire  de  la  Vie  et  des  Ouvrages  de  Raphael,  par  M.  Quatremere 

de  Quincy.     Svo.     Paris;  1833. 
The   Works   of    Jonathan   Jiichardson.     4to.      Strawberry   Hill  : 

1792. 
Some  Account  of  the  Statues,  Bas-reliefs,  Drawings  and  Pictures  in 

Italy,  <tc.,  b}-  Mr.  Richardson^  sen.  and  jun.     8vo.     London  : 

1'722. 

L'  Abeeedario   Pittorico,  da  Francesco  Solimena.      4:to.      Napoli  : 

1733. 
Le  Vite  dei  piu  eecellenti  Pittori,  Scultori,  e  Architetti,  da  CHorgio 

Va^ari.     3  vols.,  Svo.     Fiorenza  :  1568. 


*^*  The  statements  with  regard  to  the  autheiiticity  and  the 
history  of  pictures,  -which  will  be  found  scattered  through  the 
volume,  in  this  type,  and  designated  by  this  mark,  afe  made  not 
upon  the  authority  of  the  author,  but  on  that  of  the  Proprietor  of 
the  Collection. 


COMPANION 


BRYAN  GALLERY  OF  CHRISTIAN  ART. 


BYZANTINE  SCHOOL. 


Strange  as  it  may  at  first  appear,  we  have  in  the  stiflf,  soul- 
Jess,  ill-colored  works  of  the  Byzantine  School,  the  only  per- 
petuation, by  direct  descent,  of  the  great  Greek  School  of  art. 
Byzantium  (Constantinople)  received  within  its  imperial 
walls  the  Greek  painters  and  sculptors  who  sought  there  the 
support  which  wealth  and  power  alone  could  afford  to  art. 
It  was  not  more  than  two  hundred  years  after  Constantine 
had  made  it  the  capital  of  the  Eastern  empire,  that  the  style 
of  its  painters  asserted  a  supremacy, — superiority  it  could  not 
be  called, — throughout  Christendom.  All  the  grace  and  ex- 
pression of  old  Greek  art  had  faded  from  the  traditionary 
rules  which  governed  its  only  representatives ;  and  their 
works  became  the  mere  mechanical  filling  up  of  set  formulas, 
in  which  the  individual  thought  of  the  painter  had  no  expres- 
sion, and  which  therefore  could  do  nothing  to  perpetuate  his 
name.  The  use  of  the  productions  of  this  School  as  the  incen- 
tives to  devotion,  if  not  the  objects  of  it,  in  the  dark  ages, 
caused  its  never-varying  representations  of  sacred  subjects  to 
be  finally  received  as  types,  from  which,  in  all  their  rigid 
2  "' 


4  BRYAN    GALLERY. 

gracelessness  of  form  and  hideousness  of  color,  the  faitlifiil 
would  admit  of  no  variation.  And  this  feeling  with  regard 
to  sacred  subjects  extended  itself  into  the  most  glorious  era  of 
the  art.  Thus,  there  exists  in  the  Museum  of  Berhn  a  Pieta, 
the  original  of  which  is  by  the  great  Giovanni  Bellini,  the 
founder  of  the  Venetian  School ;  but  this  copy  has  been  re- 
produced in  Byzantine  style  for  devotional  purposes.  Such 
being  the  sentiment  of  those  ages,  and  the  patrons  of  paint- 
ing being  almost  exclusively  churcli  dignitaries,  or  others  who 
sought  fitting  adornment  for  churches,  convents,  chapels,  or 
oratories,  it  is  not  surprising  that  the  art  divested  itself  slow- 
ly and  painfully  of  the  religion-rivetted  fetters  of  supei-stitious 
custom,  and  that  the  traditional  types  and  compositions  of 
the  Byzantine  School  can  be  traced  through  the  works  of  all 
the  great  modern  regenerators  of  the  art,  even  into  the  ma- 
jestic creations  of  Raphael. 

1.  Virgin  and  Child. 

The  Virgin,  clothed  in  a  rich  crimson  drapery  which  cov- 
ers the  head,  holds  the  infant  Christ  on  her  right  arm.  The 
child  has  a  gilt  globe  in  his  hand.  Over  his  head  is  seen  the 
dateof  the  picture,  M  X  C .  Traces  of  the  antique  Greek 
type  are  to  be  found  in  the  Virgin's  face  ;  but  the  picture  is 
utterly  without  life  or  spirit.  It  is  painted  upon  a  heavily 
gilt  ground. 

*^*  It  was  broiiglit  from  the  East  by  the  celebrated  artist,  P-apeti^ 
who  was  sent  to  Greece  and  Turkey  by  the  French  government. 

No.  16  is  another  and  a  very  interesting  specimen  of  this 
School. 


ITALIAN  SCHOOL. 


GUIDO  OF  SIENNA. 

CiMABUK  is  generally  spoken  of  ns  the  first  to  raise  the  art  of  painting  from  the 
depths  to  which  it  sunk  in  the  dark  ages ;  but  Guido  of  Sienna,  who  not  less  than 
CiMABUE,  showed  an  individual  conception  of  a  higher  style  of  beauty  than  that 
adopted  universally  ia  his  day,  was  in  the  maturity  of  his  powers  before  the  latter 
was  born.  Nothing  is  known  of  him  beyond  the  few  of  his  works  which  have 
escaped  the  ravages  of  time,  which  inform  us  that  he  painted  them  about  A.  D. 


A  Virgin  and  Child,  witli  four  Saints. 

The  Virgin  is  sitting,  with  the  infant  Jesus  standing  on 
her  knee.  On  each  side  of  her  are  two  Saints.  All  the 
figures  have  the  circular,  foliated  aureola  around  the  head ; 
that  around  the  head  of  the  holy  child  including  a  cross 
-vvithin  the  circle.  The  figures  are  formal,  and  the  heads 
tame  ;  but  there  is  an  expression  of  infantine  sweetness  in 
the  face  of  the  child.  The  painting  is  upon  a  gold  ground  ; 
the  finely  disposed  draperies  of  the  figures  are  adorned  with 
rich  gold  borders ;  and  under  the  feet  of  the  Virgin  is  a 
richly  figured  carpet,  worked  in  the  highest  style  of  the 
painter's  epoch. 

*^*  This  picture  is  in  perfect  condition,  and  is  from  the  renowned 
collection  of  M.  Artaud  de  Montor,  in  the  account  of  which  it 
was  engraved.  It  is  described  in  the  work  of  Gault  de  St.  Ger- 
main (p.  51). 


6  BRYAN    GALLERY. 

CIMABUE. 

This  painter,  the  first  of  the  Florentine  School,  was  born  of  a  noble  family  in 
Florence,  about  A.  D.  1240.  He  is  said,  upon  not  very  reliable  authority,  to  have 
been  the  pupil  of  Giunta,  the  Pisan.  But  it  matters  not  who  was  his  instructor: 
his  only  claim  to  the  consideration  of  posterity  rests  upon  his  ability  to  forget  a 
little  of  what  he  was  taught,  and  to  rise  somewhat  above  it.  After  his  first,  feeblo 
steps,  the  art  advanced  rapidly.  He  died  in  the  beginning  of  the  fourteenth 
century. 

3.  Virgin  and  Cliild,  witli  Saints. 

The  Virgin  sits,  liolding  the  infant  Jesus.  Ranged  on 
either  side  are  St.  John,  St,  Peter,  St.  Paul,  a  Bishop,  and 
two  Angels.  The  child  holds  a  bird.  In  a  small  superior 
compartment  the  Savioul-  appeal's,  holding  a  book,  and  giving 
his  benediction.  This  picture  shows  on  all  points  rather  a 
deterioration  from  the  style  of  Guido  than  an  advance. 

*^*  From  the  collection  of  M.  Artaud  de  Montor.  Described 
by  Gault  de  St.  Germaix,  (p.  52.)  All  from  M.  de  Moxtor's  colL 
have  been  engraved. 

GIOTTO. 

Giotto  di  Bodone,  sometimes  called  Ambrogiotto,  was  born  at  Vespignano- 
near  Florence,  in  1276.  He  was  the  son  of  a  shepherd,  and  became  the  pupil  of 
CiMABUE.  He  soon  surpassed  his  master  in  the  blending  of  his  tints,  and  the  sym- 
metry and  correctness  of  his  design.  Many  of  his  works  possess  great  positive 
merit,  irrespective  of  the  early  age  in  which  they  were  produced.  He  painted 
portraits  as  well  as  sacred  compositions.  Among  others,  one  of  Dante  in  the 
Chapel  of  the  Podesta,  at  Florence ;  which,  after  having  been  two  centuries  covered 
with  whitewash,  was  recently  brought  to  light.    He  died  in  1336. 

4.  Kniglits  at  a  Tournament. 

"In  the  centre,  Glory,  standing  upon  a  sphere,  holds  in 
one  hand  a  sword,  and  in  the  other  a  statue  of  Love  darting 
an  arrow.  Trumpets  issue  from  the  globe.  Around  the 
Goddess,  mounted  knights  raise  their  hands  and  take  the 
oath  ;  they  represent  the  different  populations  of  Italy, 
wearing  their  various  coiffures  and  costumes.  This  picture, 
somewhat  rudely  painted,  and  destitute  of  harmony,  is  still 


ITALIAN   SCHOOL.  i 

one  of  those  cited  by  Gault  de  St.  Germain  (p.  54)  as 
displaying  the  type  of  the  master.  The  horses  show  that 
the  artist  did  not  study  nature  very  closely  ;  the  landscape, 
besides,  is  more  fantastic  than  real." 

*^„*  From  the  collection  of  M.  Aktaud  de  Montok.  The  frame 
is  as  ancient  as  the  picture,  of  which  it  forms  a  part.  It  bears  the 
arms  of  the  Medici  family. 

MEMMI. 

SiMONE  Memmi,  sometimes  called  Martini,  was  bom,  according  to  some,  in 
1274 ;  by  the  statements  of  others,  in  1285.  He  is  stated  by  some  to  have  been  a 
pupil  of  Giotto,  in  whose  frescoes  he  was  imdoubtedly  an  assistant;  and  by 
others  to  have  studied  with  Mino,  a  Siennese  painter.  He  painted  portraits  and 
sacred  subjects,  and  has  left  some  frescoes  in  the  Campo  Santo  of  Pisa. 

5.  Virgin  and  Cliild. 

"  Mary  sits,  holding  her  divine  Sox,  and  surrounded  by 
six  Angels  ;  one  of  the  lastoffers  Christ  a  little  bird,  and 
the  charminir  nurslinir  extends  his  hand  to  receive  it.  The 
heads,  full  of  elegance,  are  animated  by  a  pious  expression, 
which  recalls  the  best  days  of  Christianity  ;  the  epoch  when 
it  animated  with  its  poetry  the  monuments  of  architecture 
and  the  works  of  the  artist,  the  heart  of  simple  minds  and 
the  intellect  of  superior  men." 

The  head  of  the  Virgin  presents  the  same  type  as  that 
exhibited  in  the  portrait  of  Petrarch's  Laura,  painted  by 
Memmi,  w^hich  is  in  the  Library  of  the  Vatican. 
*^*  From  the  collection  of  M.  Artaud  de  Montor. 

6.  The  Last  Judgment. 

*'  Christ,  with  the  cruciform  halo,  and  the  elliptical  aure- 
ola, bordered  with  cherubim,  appears  in  the  heavens.  iVbove 
two  angels,  strangely  enough,  colored  entirely  blue,  sound  the 
trumpet ;  below,  the  Virgin  and  St.  John  kneel  upon  the 


8  BRYAN    GALLERY. 

gi'Oiind,  from  wliicli  rises  the  cross,  on  which  two  Angels  are 
looking.  On  the  left,  the  elect,  wearing  crowns  of  gold, 
mount  towards  the  sky,  under  the  protection  of  a  pitying 
spirit;  on  the  right,  the  damned  covered  with  blood,  are  de- 
livered to  the  demons  by  a  minister  of  divine  vengeance. 
Jesus  himself  weai-s  a  terrible  expression.  Michael  Angelo 
is,  therefore,  not  the  first  to  have  given  him  this  menacing 
aspect.  The  general  color  of  the  picture  pleases  the  eye  by 
its  extreme  fineness  ;  the  Virgin  and  St.  John  by  the  beauty 
of  their  tv-pes." 

*^*  From  the  collection  of  M.  Artaud  de  Montok.  In  the  col- 
lection Van  Ertborn  in  the  Eoyal  Gallery  at  Antwerp,  is  a  picture 
signed  "Simone,"  and  known  to  be  by  Simoxe  Memmi.  It  is  consi- 
dered very  precious,  and  is  carefully  preserved  under  glass ;  but, 
save  in  consideration  of  its  signature,  it  is  no  respect  so  important 
in  the  histor}^  of  Art,  as  are  these  two. 

GADDI. 

Taddko  Gaddi  was  the  son  and  pupil  of  the  Florentine  painter  Gaddo  GaddIt 
and  was  born  in  1300,  In  his  works  composition  began  to  assume  simplicity,  and 
form,  gracefulness.  Vasari,  who  saw  his  works  when  they  were  in  good  preser- 
vation, speaks  well  of  their  color  and  the  expression  of  the  heads  in  them. 
Taddko  Gaddi  was  living  in  1365. 

T.  Tlie  Crucifixion. 

On  a  gilt  back  ground,  between  two  rocks,  is  the  crucified 
Saviour.  On  the  left  is  the  Virgin  swooning,  surrounded  by 
six  holy  women.  One  of  the  soldiers  is  painted  in  gold,  in 
the  knightly  armor  of  the  painter's  day:  an  anachronism 
common  with  the  old  artists.  On  the  right  are  two  Saints, 
and  the  soldiers  dividing  the  garments  of  Christ.  The  forms 
are  poor,  and  the  heads  without  expression ;  but  there  is  some 
grace  in  the  grouping.  In  the  points  of  costume,  and  the 
history  of  the  art,  the  picture  is  very  interesting. 
*^*  From  the  collection  of  M.  Artaud  de  Montor. 


ITALIAN    SCHOOL.  V 

8.  St.  Jerome.,  St.  Dominic,  and  St.  Francis  of 

Assisa. 

The  tliree  Saints  stand  side  by  side.  There  is  dignity  i  n 
the  attitudes  and  the  draperies,  and  harmony  in  the  color  of 
this  picture. 

*jif*  From  the  collection  of  M.  Artaud  dk  Montor. 

LORENZO  IL  MONACO. 

Lorenzo,  called  II  Monaco,  a  monk  of  the  Convent  of  Camaldolcso,  was  a  pupil 
of  Taddko  Gaddi,  lie  lived  in  the  latter  part  of  the  fourteenth  century.  Several 
paintings  by  him  and  his  scholars  are  in  the  monastery  of  the  Angeli.  His  best 
works  are  remarkable  for  the  purity  of  expression  and  fervid  religious  feeling 
which  pervades  them. 

9.  Two  Wings  of  a  TaLernacle. 

In  the  left  wing  are  the  crucified  Saviour,  with  three  holy 
women  ;  in  an  upper  compartment,  the  Virgin  kneeling :  in 
the  right  wing  three  Sainb^,  with  a  fourth  in  the  upper  com- 
partment. The  type  of  the  heads  is  fine,  and  the  expression 
is  of  that  purity  which  is  characteristic  of  the  master. 
*^*  From  the  collection  of  M.  Artaud  de  ^Iontdr, 

GIOTTINO. 

ToMMASo  Di  Stkfano  was  the  son  of  a  Florentine  Artist  of  the  same  name.  He 
was  born  in  1324.  He  made  Giotto  his  model ;  and  his  works  resembled  those 
of  that  master  to  such  a  degree  that  he  was  called  Giottino  (the  little  Giotto); 
which  name  he  has  retained.  His  works  are  all  of  a  sacred  character.  He  died 
at  Florence  in  1356. 

10.  A  Tabernacle. 

In  the  centre  picture,  the  Virgin  is  seated  with  the  infant 
Jesus  on  her  knees.  He  holds  in  his  hand  a  bird.  On  each 
side  six  Saints  are  formally  ranged.  In  the  upper  compart- 
ment is  the  Saviour,  giving  his  benediction.  In  the  left  wing 
is  the  Nativity,  and  St.  CnRisiopnER  bearing   the   infant 


10  BRYAN    GALLERY. 

Christ  upon  his  shouldei-s ;  on  theriglit,  the  Crucifixion.  In 
the  upper  compartment  of  each  wing  is  a  Saint.  The  heads 
have  more  individual  expression  than  those  of  earHer  mas- 
ters. The  painting  is  however,  without  variation  from  the 
formal  and  elaborate  style  oftlie  years  immediately  preceding 
the  life  of  the  artist.  It  is  worthy  of  remark,  that  in  this  early 
work  we  find  Mary  Magdalen  distinguished  by  the  flowing 
golden  locks,  and  an  approach  to  the  voluptuous  beauty, 
which  were  bestow^ed  upon  her  ever  after,  through  the  palmy 
days  of  art,  and  even  at  the  present  time. 

*^*  From  the  collection  of  INI.  Artaud  de  Moxtor,  as  are  also 
the  foUoAving  two. 

11.  St.  Anthony. 

The  Saint  holds  a  book  and  his  staff. 

12.  St.  Dominic. 

He  holds  a  black  embossed  book,  at  which  he  points  with 
an  expression  of  admonition.  Both  these  figures  are  painted 
upon  a  gold  ground  within  a  trefoil. 

BUFFALMACO. 

BuoNAMico  BuFFALMAco  was  boHi,  accordiiig  to  Vasari,  in  1262,  and  died  in 
1340,  but  Baldinucci  says  that  he  was  living  in  1351.  He  was  a  great  wit  and  a 
great  spendthrift.  A  pupil  of  Andrka  Taffi,  he  painted  in  the  meagre  style  of 
CiMABUE  and  his  immediate  successors. 

13.  Crucifixion.     (Half  of  a  Triptique.) 

The  Saviour  is  upon  the  Cross.  Around  him  hover  six 
sprite-like  angels.  On  the  left,  Mary  swoons,  surrounded  by 
six  holy  women  ;  on  the  right  are  eight  male  figures.  We 
notice  here  a  yet  further  advance  in  the  individuality  and 
expression  of  the  heads. 

***  From  the  collection  of  M.  Artaud  de  Montor. 


ITALIAN   SCHOOL. 


11 


14.  A  Tabernacle. 

"  111  the  centre  picture  is  the  Virgin  holding  the  child  in 
her  arras,  St.  John,  St.  Antony,  and  two  Angels.  The  left 
wing  represents  the  Angel  Gabriel  above,  and  below,  St. 
Paul  and  a  Bishop.  The  right  wing  represents  the  Virgin 
of  the  Annunciation  above,  and  below,  St.  Peter  and  an 
evangelist." 

*-^*  From  the  collection  of  M.  Artaud  de  Montor. 

SCHOOL  OF  THE  TWELFTH  CENTURY. 

15.  A  Tabernacle. 

The  carved  arabesque  work  indicates  the  period  of  this 
picture,  which  has  been  much  injured  by  the  hand  of  time. 
*^*  From  the  collection  of  M.  Artaud  de  Montor. 

BYZANTINE  SCHOOL. 

16.  Triptiqiie. 

•  A   very  remarkable    and   elaborate   work ;    and   of  the 
highest  interest  in  the  history  of  art. 

ANCIENT  VENETIAN  SCHOOL. 

The  revival  of  painting  in  Venice  doubtless  commenced,  as 
Lanzi  says,  "  about  the  year  1070,  when  the  Doge  Selvo 
invited  mosaic  workers  from  Greece  to  adorn  the  magnificent 
temple  consecrated  to  St.  Mark."  But  Paolo  is  the  first 
Venetian  whose  painting  is  in  the  style  of  the  School,  and  of 
whom  we  have  a  work  remaining  of  undoubted  authenticity. 
He  flourished  in  the  early  part  of  the  fourteenth  century. 
It  was  in  the  fifteenth  centuiy  that  the  splendid  color  of  the 
Venetian  School  became  its  distinctive  characteristic. 


12  BRYAN   GALLERY. 

17.  Virgin  adoring  tlie  Infant  Jesus. 

The  Virgin  kneels  before  her  Divine  Son.  Around 
are  Angels,  and  behind  her  is  Joseph.  Above  is  a 
company  of  Angels;  and  in  the  distant  sky  one  is  seen 
appearing  to  the  shepherds.  The  infant  has  a  crimson, 
cruciform  aureola.  In  this  rudely  di-awn  picture  the  future 
glory  of  the  Venetian  School,  its  gorgeous  color,  is  plainly 
indicated. 

UCCELLO. 

Paolo  Mazzoochi,  called  Uccello,  was  bom  at  Florence  in  1349,  and  was  a 
pupil  of  Antonio  Venkziano.  He  was  one  of  the  first  to  attempt  the  reduction 
of  the  art  of  perspective  to  rule.  He  painted  animals ;  and  his  predilection  for 
birds  got  him  his  surname  ( Uccello— a.  bird) .  He  also  painted  architectural  views 
with  figures.  He  is  said  to  have  died  in  1432 ;  but  Zani  says  that  he  was  living 
in  1436,  and  also  that  his  family  name  was  not  Mazzocchi. 


18.  The  Birtli  of  Jolm  tlie  Baptist. 

The  painter  has  given  a  view  of  the  interior  of  the  house, 
by  removing  an  outer  wall.  Elizabeth,  who  has  just  given 
birth  to  John,  is  sitting  up  in  bed,  in  a  close,  black  undei* 
dress,  over  which  is  a  loose,  crimson  robe.  Three  attendants 
bring  her  refreshments.  On  the  floor  sits  a  nurse  holding  the 
infant,  and  near  her  are  three  female  minstrels,  two  of  whom 
are  singing  to  the  harp  accompaniment  of  the  third.  Two 
visitors  of  distinction — one  in  the  dress  of  an  abbess — are 
entering  the  door  of  the  chamber  ;  while  in  the  porch  of  the 
house  is  a  group  of  pei*sons  bringing  presents.  On  the  flat 
roof  are  flower  pots,  at  which  a  woman  is  looking  from  a 
window  which  opens  on  the  roof;  over  the  roof  we  see  the 
rocky  sea  shore,  and  a  vessel  on  the  sea.  This  picture  is  highly 
interesting  as  an  early  attempt  at  linear  perspective.  It  will 
be  noticed  that  the  lines  converge  at  an  absurdly  acute  angle. 


ITALIAN   SCHOOL.  i3 

The  picture  is  a  twelve-sided  salver.     On  either  side  are  the 
arms  of  distinguished  Florentine  families. 

*^*  From  the  collection  of  M.  Artaud  de  Montor. 
CASTAGNO. 

Andrea,  called  del  Castagno,  from  having  been  bom  in  that  village  of  Tus- 
cany, in  1409  or  1426,  showed  precocious  talent  for  painting.  lie  was  the  pupil  of 
the  best  artists  of  Florence  in  his  day,  among  others  of  Masaccio.  lie  is  famous 
for  his  remarkable  talent,  and  infamous  for  having  murdered  his  friend  Domenico 
Vknktiano,  that  himself  might  be  the  only  possessor  of  the  newly  discovered 
secret  of  painting  in  oil  and  varnish.  His  works  are  all  upon  sacred  subjects.  He 
died  in  1477  or  1480. 

19.  Christ  in  the  Garden  of  Gethsemane. 

This  little  picture  is  evidently  a  sketch  for  a  larger  com- 
position. It  has  sufficient  merit,  both  of  color  and  form,  to 
make  it  not  difficult  of  belief  that  tradition  does  not  misre- 
present Raphael  in  attributing  to  him  a  fondness  for  the 
works  of  the  master. 

*^^*  From  the  collection  of  M.  Artaud  de  Montor. 
DELLO. 

Of  Dello,  little,  if  anything,  is  known,  save  that  he  was  a  Florentine  painter 
who  flourished  in  the  first  years  of  the  fifteenth  century ;  he  having  died  about 
1421,  aged  49,  according  to  Vasari. 

20.  Triumpli  of  Julius  Caesar. 

This  complicated  composition,  which  contains  between 
thirty-five  and  forty  figures,  is  of  the  greatest  interest,  as  well 
to  the  student  of  antiquities  as  to  the  devotee  of  painting. 
The  figures,  vnili  the  exception  of  the  triumphing  Emperor 
and  one  or  two  others,  are  all  in  the  costume  of  the  painter's 
day.  At  the  extreme  right  of  the  picture  stands  a  group  of 
citizens  in  the  civic  dress  of  the  Florentines  at  that  period. 
Upon  the  triumphal  car,  before  Cesar,  sits  a  court  fool.  In 
the  procession,  among  other  trophies,  are  elephants.  The 
painting    is    utterly   without    aerial    perspective,  but,    the 


14  BRYAN    GALLERY. 

back   ground   s1io\ys  a   not  entirely  unsuccessful    effort   to 
express  distance  by  linear  effects. 
*^*  From  the  collection  of  M.  Artaud  de  Montor, 

BOTTICELLI. 

Alessandro  Filipkpi,  called  Botticelli,  was  bom  at  Florence  in  1437.  He 
was  a  pupil  of  Filippo  Lippi.  Although  he  approached  nearly  the  golden  age  of 
art,  he  painted  chiefly  in  water  colors.  He  died  in  1515.  He  drew  with  great  care 
and  remarkable  accuracy  for  his  day,  and  did  much  to  elevate  the  style  of  design. 

21.  Tlie  Crucifixion. 

The  painter  has  given  the  usual  figures  introduced  by  the 
artists  of  this  day,  in  treating  this  subject.  Jesus  on  the 
Cross ;  two  Angels  in  adoration  ;  the  Centurion  on  horse- 
back ;  two  soldiers ;  the  Virgin  ;  Mary  Magdalen  ;  two 
other  holy  women  ;  Saint  Francis,  of  Assisa ;  and  another 
Saint.  We  here  find  Mary  Magdalen's  chevelure  becoming- 
very  flowing,  and  of  a  rich,  ruddy,  golden  color.  The  faces 
are  very  hard  in  their  expression,  but  they  have  ceased  to  be 
entirely  without  character  and  sentiment. 

***  Described  in  the  work  of  Gault  be  St.  Germain  (p.  66). 

PERUGINO. 

PiETRo  Vannucci  was  called  Perugino  from  having  been  educated  in  Perugiai 
a  small  town  near  Celta  del  Reve,  in  which  he  was  born,  in  1446.  He  was  taught 
the  rudiments  of  design  by  Benedetto  Bonfigli.  He  surpassed  his  contempo- 
raries in  the  simplicity  of  his  compositions  and  the  grace  of  his  figures.  In  his 
females  is  found  the  germ  of  that  inexpressible  grace,  dignity,  and  loveliness, 
which  appear  in  the  Madonnas  and  other  female  figures  of  his  pupil,  Raffaello,  • 
He  was,  nevertheless,  like  his  fellows,  ignorant  of  chiaroscuro,  and  knew  little  of 
aerial  perspective.    He  died  in  1524. 

22.  Adoration  of  tlie  Infant  Clirist. 

The  Virgin  Mary,  St.  John  the  Baptist,  St.  Jerome,  St. 
Joseph,  St.  Michael,  and  the  Pope  Julius  II.,  are  kneeling 
before  the  divine  infant.     Three  small  Angels,  also  kneeling. 


ITALIAN   GALLERY.  15 

carry  the  nails  and  the  Cross,  emblems  of  the  torture  which 
the  new-born  should  suffer.  The  Christ  is  charming ;  the 
head,  at  once  naive  and  intelligent,  beai*s  a  striking  resem- 
blance to  that  of  the  little  Jesus,  so  much  admired,  in  a 
painting  of  the  same  artist,  now  placed  in  the  Louvre,  after 
having  decorated  the  gallery  of  the  King  of  Holland.  St. 
Michael  strikes  the  beholder  by  his  noble  air,  and  his 
martial  type.  The  head  is  evidently  the  portrait  of  Gaston- 
DE  Foix,  the  model  of  the  chivalry  of  the  day.  St.  John  is 
the  lean  prophet  of  the  desert,  the  ascetic,  and  the  eater  of 
locusts  and  wild  honey.  At  the  top  of  the  picture,  three 
Angels  play  upon  different  instruments.  Its  great  dimen- 
sions add  to  the  importance  of  this  work,  and  its  state  of 
perfect  preservation  makes  it  almost  priceless.  In  the  back 
gi-ound,  are  seen  the  Capitol,  the  image  of  Roman  power, 
and  the  vast  ruins  of  the  Coliseum.  The  head  of  Joseph,  who 
stands  behind  St.  John,  must  strike  the  considerate  observer 
by  its  close  resemblance  to  the  type  of  Joseph  which  we  find  in 
the  Holy  Families  of  Raphael.  In  the  Cherub  who  holds 
the  Cross,  we  also  find  great  similarity  to  the  little  Angel 
who  occupies  so  prominent  a  position  in  the  famous  Madonna 
of  Foglino,  from  the  same  divine  pencil. 

***  From  the  collection  Errard.     Signed  and  dated  1509. 

LIONARDO  DA  YINCI. 

LioNARDo  DA  ViNci  was  the  son  of  Pietro  da  Vinci,  a  Notary.  He  was  bom 
in  the  Castle  da  Vinci,  near  Florence,  in  1452.  He  early  became  a  pupil  ot 
Akdrea  Verocchio,  and  attained  distinction  with  the  first  years  of  his  manhood. 
He  painted  for  some  time  in  Florence  ;  afterward  at  Milan.  By  the  command  of 
Leo  X.  he  visited  Rome,  in  his  sixty-first  year.  There  he  found  Raphael  and 
Michael  Angelo,  in  the  plenitude  of  their  powers,  and  from  prudential  reasons 
did  not  enter  the  lists  with  them.  Upon  the  invitation  of  Francis  I,  he  went  to 
Paris,  but  fell  immediately  into  a  decline,  and  died  at  the  Castle  of  Clot  or  Cloux, 
near  Ambroise,  in  1519.  Lionardo  was  not  only  the  earliest  in  time  of  the  four 
great  boasts  of  modem  painting— the  others  being  Coreggio,  Raphael  and 
Titian— but  an  accomplished  Engineer,  Architect,  Poet,  Musician  and  Engraver. 


16  BRYAN   GALLERY. 

As  a  painter,  bis  style  is  marked  by  the  discrimination,  at  once  delicate  and 
strongly  marked,  in  the  character  of  his  heads.  His  forms  are  noble,  but  are  not 
powerfully  modelled;  and  his  extremities  are  sometimes  carelessly  or  feebly  drawn. 
The  art  of  painting  in  chiaroscuroia  said  to  owe  its  existence,  or  at  least  its  perfec- 
tion, to  him.  He  did  not  study  the  antique,  but  evolved  his  magical  grace  of  outline, 
as  well  as  his  marvellous  conceptions  of  character,  from  the  study  of  nature  and  the 
clear  depths  of  his  own  consciousness.  From  his  works  Eaphael  first  received 
that  awakening  of  his  own  innate,  but  slumbering  perceptions  of  beauty,  which, 
in  their  unrestrained  action,  elevated  him  to  the  empyrean  of  art, 

23.  St.  Jolin,  Weeping. 

We  see  the  head,  hands,  and  upper  part  of  the  back  of 
the  figure.  The  head  is  tui-ned  over  the  right  shoulder. 
The  countenance  expresses  a  great  and  noble  grief.  The 
picture  is  in  a  ^ery  low  tone ;  the  forms  are  fine,  and  the 
modelling  is  quite  bold.  The  strong  individuality  of  the  face 
is  a  characteristic  exhibition  of  the  painter's  pecuharity  of 
style. 

*^*  For  the  authenticity  of  this  picture,  we  have  the  high 
authority  of  Mr.  Woodburn. 

24.  St.  Jolin. 

The  youthful  Saint  looks  pensively  upon  the  ground.  The 
bust  only  is  seen,  clad  in  blue  and  red  drapery.  This  picture 
is,  unfortunately,  much  injured ;  but  there  remains  enough  of 
the  Master's  work  to  make  it  valuable  as  a  specimen  of  his 
mode  of  treating  chiaroscuro. 

RAPHAEL. 

Raffaello  Sanzio,  called  da  Urbino,  was  bom  at  Urbino.in  1483,  and  was  the 
son  of  a  painter  of  moderate  talent,  whose  instructions  he  soon  left  for  those  of 
PiETRo  Vannucci,  Called  Perugino ;  an  artist  whose  works  are  what  is  designated 
the  old  style,  and  whose  talents  were  eclipsed  by  those  of  his  pupil  ere  the  latter 
was  eighteen  years  old.  Still,  Raphael's  early  pictures  all  show  the  effect  ot 
Perugino's  instruction  and  example ;  and  it  was  not  until  he  went  to  Florence 
and,  by  the  study  of  Lionardo  da  Vinci  and  Michael  Angelo,  was  aroused  to 
the  full  perception  of  that  ideal  beauty  of  form  and  expression,  which  was  ever 


ITALIAN    SCHOOL.  IT 

afterward  his  chief  characteristic,  that  he  wholly  cast  aside  the  hard  and  dry  form- 
aliy  of  the  Perugine  School.  After  accomplishiug  more  for  the  art  than  any 
other  painter  who  ever  lived,  he  died  in  1520,  aged  only  thirty-seven  years,  on 
his  birth  day,  ere  he  had  quite  finished  his  great  work—"  The  Transfiguration." 
Raphael's  name  stands  unquestioned  at  the  head  of  his  art,  not,  as  Lanzi  says, 
because  he  excelled  all  others  in  every  department  of  painting,  but  because  no 
other  painter  has  ever  possessed  all  the  qualities  for  the  art  in  so  high  a  degree. 
But  besides  this  general  excellence,  he  had  merits  peculiar  to  himself,  in  which 
he  has  never  been  approached,  and  has  been  but  feebly  imitated.  These  merits, 
loo,  were  of  that  high  and  noble  order  which  place  their  possessor  as  well  beyond 
the  reach  of  petty  admiration  as  of  trivial  fault  finding.  The  epithet  "  dmne," 
which  seems  consecrated  to  him  by  the  Italians,  expresses,  as  well  as  whole  pages 
of  criticism,  the  exquisite  sweetness,  purity,  and  devotion  of  his  style.  He  is  the 
chief  of  the  Ideal,  as  Murillo  is  of  the  Real  School.  He  was  not  a  great  colorlst, 
although  there  exist  works  of  his  which  in  this  particular  are  worthy  of  his  repu- 
tation on  all  others. 

25.  Tlie  Birtli  and  Kesurrection  of  Christ. 

Two  small  compositions  which  fill  two  compartments  in  a 
very  old  and  richly-carved  frame.  In  the  centre  of  the  upper 
compartment,  Christ,  draped  in  red,  and  bearing  the  emblem- 
atic banner  of  the  Cross,  rises  from  an  open  tomb.  His 
hand  is  raised  with  an  expression  of  command.  On  each 
side  are  two  soldiers  sleeping,  and  two  starting  away  in 
fright.  A  slender  tree  also  is  seen  upon  each  side  of  the 
tomb ;  in  the  distance  is  a  large  hill.  In  the  lower  compart- 
ment are  eight  figures,  besides  the  infant  Christ.  Six  kneel 
in  a  semi-circle  about  the  new-born  Saviour,  who  lies  in  the 
middle  of  the  foreground.  Three  of  these,  on  the  left,  are 
shepherds.  On  the  right  are  the  Virgin  mother  and  two 
Angels.  Kext  to  Mary  sits  Joseph  ;  and  on  the  extreme 
left,  a  fourth  shepherd  approaches.  Two  slender  trees  here 
also  appear  on  each  side  of  the  composition.  In  the  distance 
are  heavily  undulating  hills. 

There  is  a  great  stride  between  these  compositions  and 
the  Madonna  di  San  Sisto,  The  Transfiguration^  The  Holy 
Family  of  the  Louvre,  and  the  Madonna  della  Sedia  ;  and 


18  BRYAN   GALLERY. 

if  Art  advanced  by  great  strides,  it  might,  ^sntli  some  appear- 
ance of  reason,  be  urged  that  the  author  of  those  grand  works 
could  not  have  painted  these  meagre  and  formal  composi- 
tions. But  progress  in  Art  is  not  made  by  great  strides  :  it 
is  by  slow  and  cautious,  though  firmly  planted  steps.  Every 
art  and  every  master  in  every  art  leaves  vestiges  by  which 
an  advancement,  at  first  with  feeble  and  tottering  pace,  after- 
ward with  firmer  and  more  confident  movement,  can  be  sure- 
ly and  instructively  traced.  The  character  of  a  great  master's 
style  may  be  distinctly  impressed  upon  the  productions  of  his 
earhest  days  of  pupilage,  just  as  the  manner  of  a  great  school 
shows  itself  in  its  earliest  struggles  to  emerge  from  barbar- 
ism ;  though  in  both  cases  the  connection  between  the  per- 
fect and  the  imperfect,  the  ripe  fruit  and  the  unopened  bud, 
may  be  discernible  only  by  the  eye  of  experience  and  culti- 
vated taste. 

It  is  worth  while  to  examine  the  composition  of  these  two 
Httle  pictures,  and  the  character  of  the  individual  figures  of 
which  they  are  made  up.  In  the  first  place,  it  will  be  observ- 
ed, that  although  they  are  formal,  their  formality  is  of  a  dif- 
ferent kind  from  that  which  we  have  noticed  in  the  earlier 
pictures  in  the  collection.  In  these  we  see,  it  is  true,  a  fomial 
and  precise  manner  of  composition,  but  in  those  the  formality 
amounts  almost  to  the  following  of  a  formula  of  composi- 
tion. And  such,  indeed,  was  the  custom  of  the  earliest  paint- 
ers. ISTot  only  in  their  grouping,  but  their  figures,  they 
timidly  adhered  to  the  traditionary  manner  of  their  prede- 
cessors. It  required  the  nervous  arm  of  genius  to  break 
through  these  time-honored  restrictions  ;  and  although  much 
had  been  done  for  the  enfranchisement  of  the  art,  before 
them,  it  was  only  through  the  progressive  efforts  of  Lionar- 
DO,  of  Michael  Angelo,  and  of  Raphael,  that  entire  free- 


ITALIAN   SCHOOL.  19 

dom  was  at  last  obtained.     The  compositions  which  we  are 
now  considering  show  the  formahty  and  timidity  of  a  young- 
painter,  rather  than  of  a  young  art ;  for  we  find  innovation 
accompanied  by  timidity,  and  original  thought  without  fertil- 
ity of  resource.     Thus,  the  soldier  who  starts  away  on  one 
side,  is  almost  the  counterpart  of  the  other,  in  the  position  of 
every  hmb ;  but  of  one  we  have  a  front,  and  of  the  other  a 
back  view :  and  of  the  two  who  sit  asleep,  both  have  the  left 
leg  crossed  over  the  right,  and  lean  the  head  upon  the  left 
hand,  while  the  right  arm  is  bent  at  right  angles  upon  the 
thigh.     This  is,  evidently,  an  academical  exercise  in  drawing, 
as  well  as  the  introduction  of  a  novel  freedom  of  movement. 
The  eftect  of  sameness  is  sought  to  be  removed  by  giving  a 
striking  variety  to  the  costumes  and  the  figures.     The  two 
trees  show  a  disposition  to  balance  the  composition.     These 
are  also  found  in  the  lower  compartments  ;  where,  too,  it  will 
be  seen  that  there  are  four  figures  on  each  side  of  the  middle 
of  the  picture.     If  we  look  at  the  attitudes  of  these  figures, 
we  find  a  freedom  and  an  attempt  at  variety  not  discernible 
in  the  very  early  works  with  which,  at  first  glance,  they 
would  seem  to  have  some  affinity.     In  the  heads,  too,  there 
is  an  attempt  at  a  natural  and  not  a  formal  variety  of  expres- 
sion ;  and  the  anatomy  is  treated  with  a  novel  fidelity  and 
knowledge.     The  artist,  young  though  he  was,  had  evidently 
studied  nature  with  a  keen  and  discriminating  eye.     His 
timidity  is  plainly  not  the  effect  of  a  servile  spirit,  or  a  con- 
scious weakness,  but  of  a  mind  modestly  doubtful  in  the  use 
of  its  untried  power.     The  compositions  are  evidently,  then, 
those  of  a  youthful  painter  of  original  genius ;  and  it  is  equal- 
ly evident,  from  his  attempts  to  free  himself  from  the  bonds 
of  the  old  formulas  of  ecclesiastical  painting,  that  the  compo- 
sitions were  produced  in  the  latter  part  of  the  fifteenth  cen- 


20  BRYAN   GALLERY. 

tury.  Now,  there  is  no  young  man  of  that  day  wlio  fulfil? 
these  conditions,  to  whom  these  works  cftn  be  attributed, 
with  a  shadow  of  pretence,  except  Raff  a  el  lo  Sanzio,  of 
Urbino,  whom  we  worship  as  Raphael. 

But  there  are  other  and  more  positive  traces  of  the 
youthful  hand  of  the  divine  painter  to  be  found  in  these  pic- 
tures. The  attitudes  and  movement  of  the  two  startled  sol- 
diers in  the  upper  compartment,  wei-e  i-epeated  by  liim  almost 
literally,  though  of  course  with  infinitely  greater  eftect,  in  his 
Delivery  of  St.  Peter  from  Prison.  In  that  picture  is  a 
sleeping  sentinel,  who  sits  in  the  same  attitude,  and  wears  the 
same  helmet  which  we  see  in  the  figure  on  the  left  of  the 
tomb.  Thus  do  great  painters  revert  in  the  maturity  of  their 
powers,  to  the  conceptions  of  their  earlier  days ;  thus  did 
SiiAKSPERE,  in  writing  Lear  and  Othello,  not  disdain  to  use 
thouo"hts  and  images  which  we  find  in  Venics  and  Adonis. 
that  "  first  heir  of  his  invention."  The  type  of  the  Madonna's 
head,  in  the  lower  compartment,  is  identical  with  that  of  his 
earliest  existing  Virgin  and  Child,  painted  for  the  Constable 
of  Perugia,  and  never  removed  from  the  house  in  which  it 
was  fii-st  placed.  The  head  of  Joseph  indicates  a  similar  pa- 
ternity. In  the  shepherd  in  the  middle  of  the  three  who  are 
kneeling,  an  unmistakable  likeness  to  the  great  painter  him- 
self is  to  be  traced ;  while  next  to  that  of  liis  pupil,  we  see,  in 
the  largest  and  most  mature  figure  of  the  group,  a  porti'ait  of 
Perugino.  It  is  worthy  of  remark  that  this  figure  alone  weai*s 
shoes  and  stockings.  The  youthful  scholar,  doubtless,  thought 
that  it  would  be  somewhat  disrespectful  to  represent  his  hon- 
ored master,  with  the  denuded  limbs  of  a  poor  shepherd. 
Both  these  figures  wear  caps,  which  the  others  do  not ;  and 
in  that  of  the  first  we  find  the  identical  head-dress  which  the 
young  Raphael  has  given  to  himself  in  his  earliest  portrait. 


ITALIAN    SCHOOL.  21 

The  drawing  and  positions  of  the  hands  and  feet  in  this  figure, 
and  in  those  of  Mary,  and  Joseph,  and  the  fourth  shep- 
herd, are  also  marked  exhibitions  of  the  style  of  Raphael. 
Around  the  pictures,  too,  are  quaint  arabesques  upon  a  black 
ground,  a  kind  of  ornament  which  he  was  always  fond  of 
painting.  But,  above  all,  there  is  a  certain  firm  and  flowing 
outline  in  those  parts  of  the  picture  which  are  unimpaired, 
which  can  be  found  in  the  works  of  no  artist  of  the  day,  save 
one.  From  this  mass  of  cumulative  evidence,  the  unstrained 
conclusion  seems,  that  these  compositions  are  eai-ly  works  of 
Raphael  ;  painted,  most  probably,  in  his  fourteenth  or  fif- 
teenth year,  during  the  first  portion  of  his  pupilage  with 
Perugino.  It  is  needless  to  enlarge  upon  their  historical  in- 
terest and  value,  as  connected  with  the  development  of  the 
powers  of  the  Prince  of  Paintei-s. 

*#*  Very  few  of  this  period  exist.  Those  -svliieh  are  in  the  Vati- 
can and  the  Louvre,  show,  in  style  and  handhng,  an  exact  similar- 
ity to  these  pictures,  which  is  absolutely  conclusive.  The  propri- 
etor wishes  it  to  be  understood,  that  in  his  opinion,  and  in  that  of 
some  of  the  accomplished  and  practiced  experts  in  Europe,  there  is 
not  the  slightest  doubt  of  the  authenticity  of  these  pictures.  Only 
the  inexperienced  and  the  imcultivated  fail  to  trace  in  them  tlie 
pencil  of  the  divine  Raphael. 

26.  Madonna  and  Child.     (Copy.) 

An  old  and  admirably  executed  copy  of  the  Bridge  water 
Madonna ;  a  picture  so  famous  for  its  exquisite  grace  and 
tender  sentiment,  that  any  remarks  upon  it  are  needless 
here. 

*^*  There  is  reason  to  believe  that  this  copy  was  made  by  the 
artist  whose  copies  pass  for  originals  in  many  well-known  galle- 
ries. 


22  BRYAN   GALLERY. 

27.  Dance  of  Cupids.     (Copy.) 

Nine  Cupids  dance  in  a  ring.  On  the  left,  one  plays 
upon  double  pipes:  on  the  right,  another  sits  upon  the 
ground.  The  infantile  grace  of  these  little  figures  is  exquis- 
ite indeed,  and  has  that  unaffected  simpHcity  only  to  be 
found  in  Raphael.  This  copy  is  very  fine,  as  it  may  well 
be,  having  been  made  by  no  less  distinguished  an  artist  than 
Sassoferrato  himself. 

FERRARI. 

Gaudenzio  Ferrari  was  born  at  ValJugia,  in  1484.  He  studied  with  Stefamo 
ScoTTo  and  Bernardino  Luini;  and,  as  some  say,  with  Perugino.  It  was  from 
a  close  observation  of  the  works  of  Lionardo  da  Vinci  and  Raphael  that  he 
derived  his  best  instruction.  With  the  latter  artist  he  was  frequently  engaged 
upon  great  works.  Fertility  of  design,  grandeur  of  form,  and  an  ability  and  dis- 
position to  represent  his  figures  in  diflScult  but  striking  positions,  eeem  to  haxe 
been  his  chief  characteristics.    He  died  in  1550. 

28.  St.  George,  and  St.  Antliony  of  Padua. 

St.  George  is  in  the  full  dress  of  an  unarmed  knight  of 
the  period.  He  wears  only  a  sword,  and  carries  a  palm 
branch.  St.  Anthony  is  in  monastic  robes,  and  carries  a 
lily.  Behind  the  figures,  two  strips,  one  of  green  and  the 
other  of  red  stuff,  hang  from  the  capitals  of  two  columns. 
The  head  of  St.  Anthony  is  a  fine  specimen  of  the  religious 
type.  That  of  St.  George  is  marked  by  manliness  and 
decision  of  character.  There  is  a  grandeur  of  style  in  these 
figures  which  is  best  appreciated  by  looking  at  them  from  a 
little  distance. 

FRA  BARTOLOMEO. 

The  family  name  of  this  artist  was  Baccio,  under  which  he  was  at  first  known, 
with  the  addition  "  della  Porta,"  because  his  studio  was  near  the  gate  of  the 
city.  He  was  born  near  Florence  in  1469,  and  was  one  of  the  great  painters  who 
made  that  city  glorious  at  the  end  of  the  fifteenth  and  the  beginning  of  the  six- 


ITALIAN    SCHOOL.  23 

teenlh  centurj-.  He  had  attained  distinction  under  bis  own  nanoe,  when  the  mar- 
tyrdom of  his  friend  Savonarola  so  affected  him,  that  he  threw  aside  pallet  and 
pencil,  and  entered  the  cloister  of  Santo  Marco.  lie  then  took  the  name  of  Bar- 
TOLOMKO,  under  which  he  was  known  for  the  rest  of  his  life.  He  was  a  pupil  of 
CosiMO  RosELLi,  but  studied  the  works  of  Lioxardi  da  Vinci  with  attention; 
and  the  antique,  devotedly.  His  pictures  are  rare,  and  consist  altogether  of  sacred 
compositions.  They  are  distinguished  by  the  tender,  serious,  and  deeply  religious 
feeling  which  pervades  them  ;  also  for  their  richness  and  harmony  of  color.  Fra 
Bartolomeo  was  esteemed  so  good  a  colorist  that  he  gave  lessons  in  that  art  to 
Raphael  when  the  latter  was  in  Florence,  A.  D.  1504,  and  received  in  return  from 
his  pupil  instructions  in  perspective.  He  visited  Rome  soon  after,  and  in  the 
subsequent  elevation  of  his  style,  showed  the  effects  of  a  study  of  the  works  of 
Michael  Anqelo  and  Raphael.  But  it  was  with  the  spirit  of  Raphael,  at  once 
his  pupil  and  his  master,  that  he  had  most  sympathy.    He  died  in  1517. 

29.  Martyrdom  of  St.  Bartliolomew. 

The  Saint  whose  death  is  here  represented  was  flayed 
alive,  and  then  beheaded.  This  picture  is  therefore  \m- 
pleasant,  although  interesting.  The  group  on  the  right  of 
the  picture  is  remarkably  spirited  and  energetic.  The  land- 
scape back  gi'ound  was  evidently  painted  after  the  artist  had 
received  the  instructions  of  Raphael  in  perspective. 

GIORGIONE. 

Giorgio  Barbarelli,  called  Giorgione,  was  born  at  Castelfranco,  near  Trevigi, 
in  1477.  He  was  a  pupil  of  Bellini,  and  the  fellow  student  of  Titian.  To  his 
Blaster  he  owed  little  save  the  rudiments  of  his  art.  The  power  of  his  genius  soon 
led  him  to  free  himself  from  the  guidance  of  the  timid  Bellini,  and  to  produce  a 
strong  and  flowing  outline,  a  rich,  harmonious  color,  and  an  effect  of  chiaroscuro 
till  then  almost  unknown.  With  almost  all  the  great  painters  of  his  day,  he  was 
largely  indebted  to  the  study  of  the  works  of  Lionardi  da  Vinci.  In  breadth  o^ 
effect  and  high  relief,  his  works  have  been  rarely  equalled.  Even  Titian  was  at 
first  carried  away  by  the  splendor  of  his  style,  and  imitated  him.  He  died  in  1511, 
in  the  fullness  of  his  powers. 

30.  The  Eepose  in  Egypt. 

The  Holy  Family  is  represented  seeking  rest  and  refresh- 
ment in  the  open  air,  sheltered  by  drapery  which  hangs  from 
a  tree.     The  Virgin  holds  out  the  infant  Jesus  to  Joseph, 


24:  BKYAN    GALLEKY. 

who  halt"  reclines  upon  the  ground.  In  color  this  picture  is 
glowing  and  vigorous  ;  the  flesh  tints  being  remarkably  pure 
and  rich.  The  forms  are  noble,  and  the  outhnes  boldly 
drawn,  although  not  unimpeachably  correct. 

[No  17  is  a  specimen  of  the  ancient  Venetian  style,  which 
should  be  examined  in  connection  wdth  these  productions  of 
the  glorious  days  of  that  school.] 

31.  A  Peasant  Holding  a  Flute. 

A  young  man,  clad  in  skins,  and  wearing  a  heavy  head- 
dress, holds  a  flute  in  his  right  hand,  and  stands  in  a  listening 
attitude.  The  head  is  admirable  for  its  bold  modelling,  the 
fine  form  of  the  features,  its  rich,  strong  color,  and  the  clear 
depth  of  chiaroscuro.  The  carnations  are  evidently  from  the 
same  palette  which  furnished  those  of  Joseph's  head  in  the 
previous  picture. 

*^*  From  the  collection  of  the  Marquis  Sommariva. 

32.  A  Concert.     (Copy.) 

Two  men  and  a  naked  female  sit  in  the  open  air,  diverting 
themselves  with  music.  Another  female  figure  peers  at  the 
group  from  the  shrubbery.  This  old  copy  of  the  master 
represents  successfully  his  rich  and  harmonious  color. 

TITIAN. 

TiziANO  Vecelli,  whose  name  we  have  unjustly  anglicized  into  Titian,  as  we 
have  that  of  Raffaello  into  Raphael,  was  born  at  Cadore,  on  the  borders  of 
Friuli,  A.  D.  1477.  He  received  the  education  of  one  intended  for  a  learned  pro- 
fession ;  but  having  determined  to  become  a  painter,  he  studied  at  first  with 
Skbastiano  Zuccati,  afterward  with  Gian  Bellini,  and  finally  with  Giorgione. 
He  stands  at  the  head  of  the  Venetian  School,  and  is  acknowledged  as  the  greatest 
colorist  the  world  has  seen ;  for  in  his  works  color  attains  its  noblest,  most  ideal 
expression.  That  elevation  of  sentiment  which  in  other  great  painters  found  its 
vehicle  in  form,  or  liglit  and  shade,  in  him  manifested  itself  in  effects  of  color. 


ITALIAN    SCHOOL.  '25 

His  palette  was  extremely  simple,  the  colors  which  he  used  being  few  in  number^ 
and  very  pure  and  decided  in  tint.  It  was  by  the  power  of  contrast  and  harmony, 
as  well  as  by  the  mode  of  applying  his  colors,  that  he  produced  those  wonderful 
effects  which  enchant  the  world,  and  make  some  artists  throw  down  pencils  and 
palette  in  despair,  and  others  seize  and  use  them  with  equal  desperation.  His 
mode  of  painting  has  never  been  understood  or  imitated.  lie  produced  a  surface 
such  as  no  other  artist  has  left  lis,  the  pigments  being  thoroughly  impasted 
together,  and  looking  as  if  they  had  been  run  into  each  other  by  fusion ;  indeed 
some  have  gone  so  far  as  to  suppose  that  he  used  fire  in  his  manipulations.  His 
figures  have  aji  air  of  superb  repose,  but  are  not  always  perfectly  drawn,  espe- 
cially in  the  works  of  his  early  life.  He  was  doubtless  the  greatest  portrait  painter 
that  ever  lived  :  his  works  in  this  department  of  the  art  have  remained  unap. 
proached,  for  life  and  individuality  of  expression.  lie  was  also  a  fine  landscape 
painter,  and  one  of  the  first  to  make  landscape  a  separate  branch  of  art.  This  is  a 
meagre  account  of  him ;  but  his  life  is  well  Icnown,  and  we  have  as  little  ability 
as  space  to  tell  the  lover  of  art  anything  new  about  the  noble  old  painter  whose 
maulstick  was  picked  up  by  a  monarch,  and  who  w  as  prevented  only.by  the 
plague  from  completing  his  century  of  life.  He  Hved  the  friend  of  the  sages  and 
poets,  and  honored  by  the  nobles  and  princes,  of  his  day.  He  painted  until  his 
death  ;  and  (let  it  be  remembered  by  young  artists  who  think  to  achieve  fame  by 
a  few  strokes  of  genitis  and  the  brush;  was  one  of  the  most  laborious  of  men. 
lie  died  at  Aretino,  In  1576. 


Tlie  Repose  in  EgyiDt. 

The  Holy  Family  is  sitting  in  the  open  fields.  The 
Virgin  sustains  the  infant  Jesus  as  he  leans  forward,  attracted 
by  a  lamb  "svhich  the  young  St.  Johx  presents  to  him.  The 
mother  looks  musingly  upon  the  ground.  Joseph  regards 
the  group  with  profound  interest,  and  endeavors  to  attract 
the  attention  of  the  infant  by  offering  him  fruit.  Above, 
three  cherubs  watch  the  reposing  travellers.  Although  the 
principal  attraction  in  this  picture  is  its  color,  still  the  group 
is  remarkable  for  its  graceful  composition,  for  the  unaffected 
dignity  of  the  figures,  and  for  a  correctness  of  form  not  always 
found  in  Titian's  works.  As  to  the  color,  it  seems  as  if 
nothing  could  be  richer,  more  sensuously  beautiful,  and,  at 
the  same  time,  truthful.  Its  gradations  in  the  limbs  of  the 
St.  John  are  of  gi-eat  delicacy,  and  are  preserved  even  in  the 


26  BRYAN  GALLEET. 

shadows  with  no  less  power  of  pencil  than  in  the  highest  light. 
The  white  drapery,  upon  which  the  young  Christ  stands,  that 
which  half  envelops  St.  John,  and  the  deep  orange-colored 
robe  of  Joseph,  are  masterpieces  of  the  use  of  the  palette. 

%*  This  composition  was  repeated  many  times  by  Titiax,  and 
without  great  variation.  This  repetition  is  distinguished  by  the 
absence  of  some  figures  in  the  back  ground,  and  the  introduction 
of  a  rivulet  in  the  foreground,  and  a  butterfly  upon  a  flower  in  the 
right  corner.  It  has  twice  been  found  necessary  to  remove  the 
picture  from  its  canvas ;  but  although  the  drapery  of  the  Virgin 
lias  suftered  somewhat  from  this  and  other  causes,  the  other  parts 
of  tlie  picture  remain  pure  and  unharmed. 

34.  St.  Jerome,  in  liis  Study.     (School  of  Titian). 

The  Saint  is  represented  writing  at  an  antique  desk.  Upon 
the  wall  hangs  a  cardinal's  hat ;  and  he  wears  the  red  cape. 
Behind  him  are  cabinets,  and  his  library,  which  consists  of  a 
few  parchment  rolls  sustained  by  a  band  against  the  wall. 
From  the  ceiling  hangs  an  enormous  gourd.  In  the  front  is 
the  emblematic  lion.  The  light  falls  in  broad  masses  through 
deeply  recessed  windows. 

*^*  This  is  a  large  copy  of  a  print,  by  Albrecht  Durer.  Its 
color  shows  it  evidently  to  be  of  the  Venetian  School. 

35.  Virgin  and  Child.     (School  of  Titian). 

The  child  sits  upon  the  knee  of  the  mother,  and,  leaning 
back  to  look  up  in  her  face,  is  sustained  by  her  right  arm. 
He  has  fruit  in  each  hand.  The  limbs  of  the  child  are  grace- 
fully disposed,  and  are  quite  grand  in  their  lines,  but  the 
heads  of  neither  mother  nor  child  are  noble  or  divine  in 
their  expression.     The  color  is  rich  and  harmonious,  though 


ITALIAN   SCHOOL.  27 

not  SO  warm  and  glowing  as  is  usually  the  case  in  the  pro- 
ductions of  this  school. 

*^^*  This  picture  came  from  the  Gallery  of  Louis  PmLUPE,  and 
on  the  back  was  written  ^^  Dans  la  chamhre  du  Prince." 

BREA. 

LuDivico  Brba,  a  painter  of  the  Genoese  School,  was  born  at  Nrzza,  about 
1460.  It  is  not  known  by  whom  he  was  instructed.  He  painted  small  compo- 
sitions and  portraits  chiefly.    His  last  works  are  dated  1513. 

36.  Portrait  of  Cliarles,  Constable  de  Bourbon. 

To  this  treacherous  person  the  painter  has  given  a  satanic 
expression,  which  we  willingly  believe  to  be  truthful.  The 
head-dress,  in  the  style  of  Francis  I.,  is  very  striking,  being 
composed  of  a  yellow  skull  cap,  surmounted  by  a  black  velvet 
circle  embroidered  with  pearls,  over  which  falls  a  small  ostrich 
plume.  The  Constable  has  a  letter  in  his  gloved  hand, — a 
common  incident  in  ancient  portraits  of  persons  of  distinction. 
The  outlines  are  stiff,  and  the  forms  lack  roundness. 

SEBASTIANO  DEL  PIOMBO. 

Sebastiano  Luciano,  called  del  Piombo,  from  his  being  the  keeper  of  the 
chancery  seal,  which  was  of  lead,  was  born  at  Venice  in  1485.  His  first  profession 
was  music;  but  he  afterward  studied  painting  with  Bellini  and  Giorgione. 
He  was  the  most  successful  imitator  of  the  harmony  and  breadth  of  the  latter's 
style.  Being  invited  to  Rome,  he  became  the  friend  and  co-worker  of  Michael 
Anoelo,  who  sought  from  his  splendid  color  and  fine  chiaroscuro,  aid  against  the 
overshadowing  genius  of  Raphael  ;  but  in  vain.  He  painted  chiefly  portraits 
and  sacred  subjects.    He  died  in  1547. 

37.  Christ  Sliown  to  the  Multitude. 

Christ,  bound,  crowned  with  thorns,  and  bearing  the  reed, 
is  shown  to  the  multitude  by  Pilate  ;  who,  clad  in  the 
costume  of  a  magistrate  of  the  painter's  epoch,  stands  at  his  left 
side ;  while  on  his  riirht  an  attendant,  who  holds  the  cord, 


28  BKYAN    GALLERY. 

removes  a  robe  from  his  shoulders.  The  head  of  Christ  is 
finely  formed,  and  is  full  of  dignity  and  noble  grief, — a  grief 
not  for  himself.  The  bust  is  fine,  and  the  modelling  strongly 
marked.  The  self-seeking  sluggishness  of  Pilate,  and  the 
attendant's  low  leer  of  exultation,  afford  a  fine  and  natural 
contrast  to  the  pensive  dignity  of  Christ.  We  find  in  this 
work  an  interest  for  the  student  of  Art  beyond  its  intrinsic 
merits,  as  it  is  a  link  between  the  Venetian  and  Florentine 
Schools ;  its  color  belonging  to  the  former,  while  its  treat- 
ment of  form  and  its  architecture  are  in  the  style  of  the 
latter. 

%*  This  picture,  wliich  is  in  very  fine  condition,  and  the  prin- 
cipal figure  in  which  much  resembles  that  in  the  famous  picture  of 
Christ  Looking  into  Hell,  in  the  Eoyal  Gallery  of  Madrid,  was 
2>urchased  by  the  proprietor,  in  Rome. 

ANDREA  DEL  SARTO. 

Andrea  Vannuc  i,  who  is  said  to  have  been  called  del  Sarto  because  be  was  the 
son  of  a  tailor,  was  born  at  Florence  in  1488.  He  w^as  placed  at  first  with  a  goldsmith, 
whom  he  left  for  the  instructions  of  Giovane  Barili,  whom  he  again  left  for  the 
studio  of  PiKTRo  Di  CosiMo.  But  it  was  from  the  study  of  Masaccio,  Ghirlan- 
DAJo,  LiONARDo,  and  Michael  Angelo  that  he  received  his  most  valuable 
instruction.  He  had  great  versatility  of  talent,  and  could  imitate  the  style  of 
other  artists  with  marvellous  fidelity.  His  genius  inclining  him  to  the  graceful 
and  the  tender,  he  lacked  boldness  and  decision  in  treating  grand  subjects.  He 
visited  the  principal  cities  of  Italy,  and  was  invited  to  Paris  by  Francis  I.  where 
he  was  received  with  great  distinction.  He  returned  soon  to  Florence,  however* 
and  led  a  life  by  no  means  without  reproach.    He  died  about  1550. 

8.  Virgin  and  Child,  witli  Angels. 

The  Virgin  sits  upon  the  ground,  with  the  Holy  Child 
upon  her  knee.  He  is  looking  heavenward.  On  either  side 
stands  an  angel ;  and  behind  is  another  figure, — perhaps  St. 
John.  The  head  of  the  Virgin  is  sweet  and  tender  in  ex- 
pression ;  but  the  color  is  weak,  and  the  forms  are  not  fine 
or  the  outlines  bold  or  clear. 


ITALIAN   SCHOOL.  29 

EARLY  FLORENTINE  SCHOOL. 

39.  Virgin  and  Child   Avith  St.  Jolin.      (Painter 

unknown  :   supposed  to  ])e  Boateri.) 

The  Virgin  stands  before  a  carved  stone  ledge  upon 
which  the  infant  Christ  sits,  receiving  a  cross  from  St.  Joiix. 
In  a  cave  behind  the  Virgin  sits  St.  Jerome,  liis  cardinal's 
hat  hanging  before  him.  In  the  back  ground  are  buildings 
and  figures.  The  expression  of  the  Holy  Child  is  sweet  and 
infantine ;  the  other  heads  are  somewhat  tame.  It  will  be 
noticed  that  gold  is  used  freely  in  the  halos,  and  upon  the 
draperies,  which  fall  in  somewhat  stiff  but  ample  and  not  un- 
pleasing  folds. 

*^*  This  picture  is  from  the  collection  of  the  Abbe  Gexoude  ; 
known  as  the  translator  of  the  Bible,  by  which  he  accumulated  a 
fortune. 

40.  Adoration   of  the  Shepherds.     (Painter   un- 

known.) 

The  Virgin  lifts  a  drapery  from  the  infant  Christ,  who 
lies  upon  a  stone  slab  covered  with  straw.  On  the  left  kneels 
an  old  shepherd,  and  behind,  two  others  appear.  On  the 
right,  a  cherub  eagerly  approaches  the  Di\ine  Infant.  The 
group  sits  in  the  open  gallery  of  a  large,  ruined  building.  In 
the  distant  landscape,  shepherds  are  seen,  to  whom  the  angel 
appears.  This  embodiment  of  two  incidents  of  a  story  upon 
the  same  canvas,  is  common  with  the  old  painters.  The  ex- 
pression of  the  Infant  is  sweet,  and  that  of  the  mother  refined 
and  pensive.  The  Child's  limbs  are  disposed  with  much 
freedom  and  grace.     In  color  the  picture  is  not  well  balanced, 


30  BRYAN   GALLERY. 

all  the  cool  and  quiet  tints  being  upon  one  side,  and  all  the 
bright  and  glowing  upon  the  other. 

*^*  This  picture  is  from  the  collection  of  the  Sylvestre  fanoil}-, 
and  was  once  improperly  attributed  to  Raphael.  It  bears  many 
of  the  marks  of  Garofalo's  pencil. 

MANTEGNA. 

Andrea  Mantkgna  was  born  near  Padua,  in  1431,  and  was  the  son  of  a  herds- 
man. Francbsco  Squarcionk,  noticing  his  disposition  to  become  a  painter' 
took  him  as  his  pupil.  He  rose  rapidly  to  distinction.  By  the  study  of  an 
unrivalled  collection  of  ancient  Greek  statues  and  bas-reliefs,  in  the  possession  o  f 
his  master,  he  acquired  a  simple  grandeur  of  composition,  and  a  purity  of  form, 
till  then  unknown  among  painters,  and  which  constitute  his  distinguishing 
excellence.  Some  of  his  figures  are  yet  unsurpassed  for  grandeur,  truth,  and 
decision  of  outline.  It  was  to  the  study  of  his  works  that  Correggio  owed  much 
of  his  eminence.  Although  his  design  was  classical  and  elegant,  his  manner  of 
painting  was  quite  Gothic.  He  used  gold  freely  in  his  draperies,  and  high  lights. 
To  his  talents  as  a  painter,  he  added  great  skill  as  an  engraver.  He  died  at 
Mantua,  in  1506. 

40.  (A)  Tlie  Crucifixion. 

A  canvas  filled  with  figures  remarkable  for  expression  and 
character,  exhibits  Jesus  crucified  between  the  two  robbers. 
At  the  foot  of  the  Cross  the  fainting  Virgin  is  attended  by 
two  women.  On  the  left,  Joseph  of  Arimathea  regards  the 
group  with  deep  concern.  On  the  right,  the  soldiers  cast  lots 
for  the  garments  of  Christ  ;  and  in  front,  one  of  the  party 
raises  the  sponge  dipped  in  vinegar  to  his  mouth,  upon  a 
reed.  Behind  the  cross  we  see  the  Centurion.  A  mounted 
soldier  breaks  the  legs  of  one  of  the  thieves  with  a  mace. 
Mr.  MicHiELS,  the  distinguished  critic  employed  by  the  Bel- 
gian Government  to  prepare  a  history  of  Flemish  Art,  says  of 
this  work  :  "  The  Christ  has  a  nobility  in  his  attitude  which 
few  painters  have  been  able  to  give  him  ;  the  expression  of 
the  good  robber  is  also  grave  and  dignified.  The  whole  pic- 
ture bears  the  impress  of  a  serene  imagination ;  the  coloring 


ITALIAN   SCHOOL.  31 

is  sombre,  the  attitudes  are  distinguished  by  an  air  of  majes- 
ty. We  feel  that  the  artist  had  at  the  commencement  of  his 
career  severely  studied  the  ancients.  Two  cuirasses,  and  some 
of  the  draperies,  are  gilded ;  gold  is  mingled  with  the  other 
costumes,  in  the  form  of  traits,  designating  the  folds.  We 
are  particular  about  these  details,  because  they  indicate  the 
primitive  epoch  in  which  the  picture  was  painted,  and  the 
manner  in  which  they  passed  from  the  use  of  gold  grounds 
to  the  entire  abandonment  of  tbat  metal." 

M.  MiCHiELS  might  have  added,  that  the  figure  of  the 
unrepentant  robber  shows  a  knowledge  of  anatomy,  a  skillful 
treatment  of  form,  and  a  masterly  decision  of  outline  which  has 
hardly  been  surpassed  by  the  painters  of  the  grand  epoch 
which  succeeded  Mantegna.  It  should  be  observed  that  the 
Jewish  type  is  preserved  in  the  heads  of  many  of  the  figures  ; 
which  is  the  case  of  the  works  of  very  few  other  masters* 
It  will  be  observed,  that  there  are  in  this  crowded  canvas  no 
two  pieces  of  oflfensive  or  defensive  armor  alike.  This  is 
worthy  of  particular  remark,  as  Squarcioni,  the  master  of 
Mantegna,  had  the  largest  and  most  varied  collection  of 
ancient  arms  which  existed  in  his  day. 

Aside  from  its  intrinsic  merit,  this  picture  is  of  the  great- 
est interest  when  considered  in  connection  with  the  St.  Jer- 
ome (No.  41)  by  CoRREGGio,  the  disciple  of  Mantegna.  In 
the  peculiar  mode  of  introducing  gold  in  the  lights  of  that 
noble  painting  we  notice  an  unmistakable  similarity  to  Man- 
TEGNA'suse  of  the  same  material  in  the  work  before  us ;  thus 
showing  the  direct  connection  between  the  manner  of  the  two 
painters. 

*^*  It  is  impossible  to  overrate  the  historical  importance  of  the 
juxtaposition  of  this  work  of  Mantegna  with  that  of  Correggio. 
There  is  afforded  in  no  other  gallery,  public  or  private,  in  the 
world,  a  similar  opportunity  to  study  the  master  and  scholar  side 


32  BRYAN    GALLERY. 

by  side  in  works  of  unquestionable  authenticity  and  tlie  liighest 
intrinsic  merit.  Should  any  person  be  inclined  to  dispute  the  au- 
thenticity of  the  present  work,  the  proprietor  is  ready  to  establish 
and  sustain  liis  opinion  in  every  possible  manner. 

CORREGGIO. 

Antonio  Allegri,  called  da  Corrkggio,  the  son  of  Pelligrini  Allegri,  a 
merchant  of  Correggio,  in  the  Duchy  of  Modena,  was  born  in  1494.  He  was  des- 
tined for  one  of  the  learned  professions,  but  his  devotion  to  the  art  of  painting 
could  not  be  controlled.  He  received  some  instructions  from  his  uncle,  Lorenzo 
Allegri,  and  from  Antonio  Bartolotti,  called  Tognino.  But  from  his  long  and 
faithful  study  of  the  works  of  Mantegna,  he  derived  instruction  which  he  never 
forgot,  and  which  was  of  the  greatest  service  throughout  his  career.  His  progress 
was  very  rapid,  for  at  twenty  years  of  age  he  had  attained  celebrity.  His  genius 
is  regarded  as  one  of  the  most  marked  and  original  known  to  the  annals  of  the 
art.  His  forms  are  finely  modelled,  and  have  an  inexpressible  grace  of  contour. 
His  heads  have  a  sweet  and  tender  air,  which  enchants  the  eye  ;  and  he  is  beyond 
all  painters  in  the  magical  application  of  the  mysteries  of  chiaroscuro  to  the  human 
form,  and  to  the  tints  of  flesh.  His  color  is  exquisitely  delicate  and  pure ;  and  in 
richness  of  tone  and  breadth,  his  pictures  are  unrivalled.  To  all  his  other  excel- 
lences, he  adds  this,  that  they  all  are  his  own.  Many  stories  are  current  about  his 
life,  referring  generally  to  his  poverty.  They  are  all  proved  to  be  without  founda- 
tion. He  lived  prosperous  and  honored  ;  and,  dying  suddenly  in  1534,  he  was 
buried  with  pomp  and  solemnity,  in  the  church  of  San  Francisco,  in  his  native 
town. 

41.  The  Virgin  and  Cliild,  Mary  Magdalen,  and 
St.  Jerome  (known  as  the  St.  Jerome). 

The  Virgin,  seated  upon  a  bank,  liolds  the  infant  Jesus, 
who  reads  a  book  which  is  hekl  by  St.  Jerome,  and  the 
leaves  of  which  are  turned  by  an  angel.  Mary  Magdalen, 
half  kneehng,  raises  the  foot  of  the  child  to  her  lips.  Behind 
her  is  a  httle  cherub  with  a  vase.  A  rich  canopy  of  hmvm. 
and  yelloAv  tapestry  hangs  over  the  group.  Through  the 
small  opening  between  this  canopy  and  the  heads  of  the 
group,  we  see  a  distant  landscape  with  a  large  castellated 
building.  In  his  light  hand  St.  Jerome  holds  a  scroll.  This 
composition,  which  varies  remarkably,  but  in  minor 
points,  from  the  famous  St.  Jeroiiie,  now  at  Parma,  by  the 


ITALIAN  SCHOOL.  66 

same  Master,  is  one  of  tlie  most  celebrated  of  his  productions. 
Its  conception  is  grand,  its  forms  noble.  Not  only  are  the 
limbs  of  the  gigantic  saint  modelled  >vith  the  fine  relief  due 
to  their  large  proportions,  but  there  is  in  the  figure  an 
expression  of  dignity  and  power  which  is  almost  superhuman. 
The  countenance  of  the  Magdalen  expresses  the  depth  of 
repentant  grief,  without  in  any  degree  marring  its  superb  and 
voluptuous  cast.  The  Virgin's  head  has  a  sweet  dignity  and 
pensiveness  ;  and  if  in  the  Divine  Infant  we  miss  the  blended 
innocence  and  godhood  which  gazes  in  calm  self-conscious- 
ness from  the  face  of  the  wondrous  child  who  sits  in  the  arms 
of  the  Madonna  di  San  Sisto,  we  should  remember  that 
there  is  but  one  Raphael,  and  that  even  he  was  not  perfect 
in  every  province  of  the  painter's  art ;  Correggio  being  all 
accomphshed  on  these  very  points  on  which  he  was  most 
deficient. 

Of  this  sketch  M.  Michiels  remarks,  that  in  it  "  burns  in 
all  its  grace,  the  talent  of  C orreggio.  Never  has  the  ecstacy 
of  piety,  or  the  fervor  of  religious  affection,  been  better 
expressed." 

This  picture  differs  from  the  large  one  at  Parma,  in  the 
lack  of  the  emblematic  lion  which  stands  in  that  by  the  side 
of  St.  Jerome  ;  and  also  in  the  color  of  some  of  the  draperies, 
particularly  in  that  of  the  canopy,  which  in  this  is  striped, 
while  in  that  it  is  of  one  color.  In  this,  too,  we  find  gold 
used  in  the  halos  and  in  the  draperies,  which  is  not  the  case 
in  the  other ;  a  fact  which  points  to  the  earlier  production  of 
this  picture,  and  which  also  connects  it  in  a  remarkable 
manner  with  the  Crucifixion  by  Mantegna  (No.  40,  A.), 
a  painter  whose  works  Correggio  studied  profoundly,  and 
whose  manner  of  painting  had  a  marked  and  well-known 
influence  upon  him. 


34  BRYAN    GALLERY. 

*;jt*'  There  can  be  no  doubt  that  this  picture  is  the  finished 
sketcli  for  the  well-known  St.  Jerome^  at  Parma.  The  marked 
differences  already  alluded  to  in  minor  points,  prove  incontestably 
that  it  could  not  be  the  work  of  a  copyist,  who  would,  of  course, 
reproduce  his  original  with  all  possible  fidelity.  In  the  expression 
of  the  Magdalen's  face,  this  has  the  advantage  of  the  larger  work  ; 
as  not  unfrequently  happens  in  the  transferring  of  a  composition 
from  the  first  sketch  to  the  finished  work.  It  is  from  the  collection 
of  Marshal  Sebastiani  ;  it  having  hung  alone  in  his  own  cabinet.  It 
was  at  a  remote  day  transferred  from  canvas  to  panel.  Mr.  Herris 
has  no  doubt  of  tha  authenticity  of  this  picture. 

42.  Virgin  and  Child. 

The  Virgin  sitting  before  a  table,  sustains  her  Son  with 
both  arms.  He  leans  upon  her  shoulder,  and  lays  his  hand 
carelessly  upon  her  breast.  The  face  of  the  Virgin  has  that 
timid,  gi-aceful  air,  peculiar  to  the  women  of  Correggio. 
The  chiaroscuro  of  the  flesh  is  remarkably  clear  ;  and  in  the 
Virgin's  robe  we  find  a  tint  not  known  to  exist  in  any 
pictures  but  the  productions  of  this  Master. 

%*  In  support  of  the  authenticity  of  this  picture,  Ave  have  the 
first  authority  in  England, — that  of  Mr.  Woodburx. 
LOVINI. 

Bernardino  Lovini,  sometimes  called  Luini,  was  born  at  Luino,  on  Lago 
Maggiore,  about  1480,  or  perhaps  even  earlier.  He  imitated  Lionardo  da  Vincii 
if  he  were  not  his  pupil,  and  so  successfully,  that  his  works  are  sometimes  mis- 
taken, by  competent  judges,  for  those  of  his  model.  The  well-known  picture  of 
Christ  disputing  with  the  Doctors,  in  the  British  National  Gallery,  attributed  to 
LioNARDo,  is  decided  by  the  most  expert  connoisseurs  to  be  the  work  of  Lovim. 
He  was  living  in  1530. 

42.  Virgin  and  Child. 

The  infant  Christ,  sitting  in  his  mother's  arms,  raises  his 
right  hand  with  a  gesture  of  authority.  The  Virgin's  face 
expresses  sweet  humility  and  innocent  pride.     The  child  is 


ITALIAN   SCHOOL. 


35 


inferior  to  the  mother  in  this  respect.  Tlie  flesh  tints  are 
pure  and  soft,  and  the  chiaroscuro  is  remarkably  fine. 
The  draperies  are  rather  ungracefully  disposed,  and  some- 
what crude  in  color. 

SESTO. 

C.DSARi  DA  Sksto  was  a  native  of  Milan,  and  flourished  about  the  beginning 
of  the  sixteenth  century.  He  is  supposed  to  have  studied  wiih  Lionardo  da 
Vinci,  whose  style,  as  well  as  that  of  Raphael,  he  emulated  with  success.  He 
died  at  Milan,  about  15-2o. 

44.  Viro^in  and  Cliild,  with  St.  John. 

The  Virgin  sits  beneath  a  tree,  with  her  Divine  Son  upon 
her  knees.  He  holds  a  flower  in  his  left  hand,  and  stretches 
out  his  right  to  the  young  St.  John,  who  sits  upon  a  lamb, 
embracing  its  neck.  The  picture  is  chiefly  remarkable  for 
the  fine  type  and  sweet  expression  of  the  Virgin's  head. 

*^*  Tliis  picture  is  attributed  to  C^sari  da  Sesto,  solely  upon 
the  authority  of  the  proprietor.     It  is  from  the  collection  of  Bishop 

LUSCOMB. 

BRONZING. 

AoNOLO  Bronzing  was  bom  at  Florence  in  1511.  He  was  the  pupil  of  Jacopo 
Carccci,  but  imitated  Michael  Angelo,  and  with  some  success.  He  excelled 
in  portraits.    He  died  in  1580. 


Portrait  of  a  Princess  of  Florence. 

Tlie  Princess  stands,  resting  her  right  hand  upon  a  book, 
which  lies  upon  a  table  covered  with  gi-een  cloth.  She  wears 
a  richly  embroidered  robe,  over  a  curious  jacket  with  sleeves 
embroidered  with  gold.  Around  her  neck  is  a  ruff  of  very 
wide-meshed  lace,  which  also  borders  the  handkerchief  in  her 
left  hand.  Her  features  are  fine,  and  the  expression  of  her 
4 


36  BRYAN   GALLERY. 

countenance  is  frank  and  noble.    Her  hands  are  beautiful  and 
finely  drawn.     The  flesh  tint  has  a  soft  and  silvery  lustre. 

PALMA  (VECCHIO.) 

Jacopo  Paljia  (U  Vecchio—i\\^  old)  was  born,  according  to  some  authorities,  in 
1510,  according  to  others,  in  1540,  in  Serinalta,  in  the  Bergamese  territory.  He 
studied  chiefly  the  works  of  Belmni,  Giorgione,  and  Titian.  His  pictures 
chiefly  excel  in  harmony  of  color,  and  in  high  finish.  He  died  at  forty  years  of 
age. 

46.  Portrait  of  a  Venetian  Lady  as  Mary  Magdalen. 
(Ancient  Copy.) 

A  young  woman,  in  the  bloom  of  beauty,  sits  by  a  table 
x[\)0\\  which  she*  rests  her  right  arm,  while  with  her  other  hand 
she  tears  a  necklace  of  pearls  from  her  neck.  Her  hair  is  of  that 
beautiful  and  j^eculiar  red  which  is  more  common  in  Venice 
than  elsewhere.  She  is  richly  dressed :  her  sleeves,  like  those 
of  Katherine  in  the  Taming  of  the  Shreiv,  being  "  curiously 
cut."  Over  her  shoulder,  a  picture  of  the  Repentant  Mag- 
dalen is  seen.  The  color  in  all  parts  of  this  portrait  is  very 
rich  and  glowing. 

GIUSEPPE  D'  ARPINAS. 

Giuseppe  Cesari  was  called  d'  Arpinas  from  having  been  born  in  the  Castle  of 
Arpino,  at  Naples,  in  the  year  1560 :  or,  according  to  some  authorities,  1568.  He 
was  the  son  of  a  very  humble  artist ;  and  having  gone  to  Rome,  determined  to 
become  a  painter,  he  was  obliged,  from  poverty,  to  offer  his  services  to  arrange 
the  palettes  of  the  artists  employed  in  the  Vatican  by  Gregory  XIII.  Some  figures 
which  he  sketched  upon  the  wall  were  the  cause  of  his  being  taken  under  the 
protection  of  the  Pope,  and  placed  as  a  pupil  with  Pomarancio.  He  was  one  of 
the  most  distinguished  and  fertile  painters  of  his  day.  His  works  " possess  an 
appearance  of  grandeur  in  the  composition,  lightness  and  facility  in  the  design, 
and  an  alluring  beauty  of  execution  ;"  but  he  is  regarded  by  the  best  critics  as 
superficial,  and  prone  to  extravagance.    He  died  at  Rome  in  1640. 

4T.  Charity. 

Charity,  represented,  as  usual,  by   a  woman  in  the  full 


ITALIAN   SCHOOL.  37 

bloom  of  matronly  beauty,  sits  in  the  midst  of  a  group  of 
young  children,  who  seek  nourishment  from  her  breast. 
The  eager  haste  of  the  only  successful  one,  and  the  struggle 
between  the  others,  is  expressed  with  great  spirit.  The 
draperies  are  finely  disposed,  and  remarkable  for  rich  and 
harmonious  contrast  of  color. 

ANNIBALE  CARACCI. 

Annibale  Caracci,  the  cousin  of  Ludovico,  was  born  at  Bologna,  in  1560.  He 
became  the  pupil  of  hia  cousin,  and  afterwards  went  to  Parma  to  study  the  works 
of  CoRRKGGio.  In  Titian,  Tintoretto,  and  Paolo  Veronese,  he  found  his 
models  for  color.  His  works  are  distinguished  by  their  nobility  of  form,  and  an 
expression  of  energy.  His  draperies  are  ample  and  grandly  disposed,  and  indicate 
a  justly  proportioned  figure  beneath  them.  His  imagination  was  vivid,  but  being 
averse  to  letters,  he  sometimes  felt  injuriously  his  want  of  learning.  He  died  in 
1609. 

48.  Vii-giu  and  Cliild. 

The  infant  Jescs  sits  upon  his  mother's  knee,  looking  with 
full  face  from  the  picture.  She  presents  some  small  object 
with  her  right  hand,  which  he  takes  with  his. 

49.  St.  Josepli  lidding  tlie  Infant  Jesus. 

The  child,  between  three  and  four  years  old,  hes  asleep  in 
the  arms  of  Joseph. 

Both  these  little  sketches  are  remarkable  for  bold,  decided 
drawing  and  high  relief.  The  shadows  are  quite  dark,  but 
are  disposed  with  masterly  knowledge.  The  heads  are  fine 
and  strongly  marked  types.  It  is  worthy  of  notice,  that  in 
the  first  there  is  a  halo  only  around  the  head  of  the  Virgin, 
and  in  the  second  only  around  that  of  the  child. 

DOMENICHINO. 

DoMENic  o  Zampieri,  Called  Domenichino,  was  bom  at  Bologna  in  1581.  la 
his  boyhood  he  studied  with  Denis  Calvart  ;  but  it  was  in  the  academy  of  the 


38  BRYAN    GALLERY. 

Caracci  that  he  received  his  only  formative  instruction.  He  is  considered  their 
best  pupil,  although  Gcido  and  Albano  were  his  fellow  students.  He  studied 
profoundly  the  works  of  Correggio  and  Raphael.  His  outline  is  grand  and 
flowing,  his  heads  are  fine  in  type  and  full  of  expression,  and  his  coraposiiion  is 
learned  and  effective.  The  marked  and  striking  character  of  his  figures  is  hi* 
distinguishing  excellence.     He  died,  by  poifeon  it  is  supposed,  iu  1641. 

50.  St.  Paul  borne  to  Heaven  by  Angels. 

"  Three  angels  bear  aloft  the  interpreter  of  the  divine  will : 
one  has  the  form  of  infancy,  another  of  youth,  the  third  of 
adolescence.  The  minister  of  our  Lord  raises  his  hands  to 
heaven,  on  which  he  gazes  with  an  expression  of  burning 
hope.  How  he  seeks  to  discover  the  first  rays  of  the  eternal 
hght !  How  he  longs  for  the  moment  in  which  he  shall  ap- 
pear before  the  Almighty  !  What  enthusiasm  animates  his 
countenance  !  I  doubt  if  the  ardor  of  faith  could  be  better 
shown.  The  little  angel  has  those  brilliant  eyes,  and  that 
expressive  visage,  which  this  master  knew  so  well  how  to 
paint;  it  is  certainly  not  inferior  to  those  which  we  admire  in 
the  grand  saloon  of  the  Louvre.  The  angel  of  the  second, 
age  charms  the  eye  by  a  grace  and  an  easiness  of  attitude- 
extremely  remarkable  ;  upon  his  countenance  burn  the  ven. 
eration  and  the  love  with  which  the  Apostle  inspires  him. 
The  entire  group  seems  actually  to  mount  in  the  air.  Mr. 
Bryan  had  the  good  taste  to  purchase  it  at  the  sale  of  M. 
Forbin-Janson." 

To  this  just  and  graphic  description,  from  the  pen  of  M. 
MiCHiELs,  which  appeared  in  the  Gazette  de  France^  it  is 
needless  to  add  anything  more  than  to  remark  the  noble  out- 
line and  bold  modelling  of  the  hmbs,  the  perfectly  truthful 
foreshortening  of  the  head — which  is  in  a  very  difficult  posi- 
tion, the  high  relief  of  the  figures  and  the  expression  of  the 
mighty  power  with  which  the  apostle  seems  to  be  borne  up- 


ITALIAN   SCHOOL.  39 

ward.  A  few  moments'  quiet  contemplation  of  this  picture 
awakens  in  the  observer  a  sensation  of  motion  through  illim- 
itable space,  which  is  a  triumphant  effect  of  the  painter's 
power. 

*^*  This  picture  was  formerly  in  the  Gallery  of  the  Cardinal 
LvMBRUScuiNi,  and  afterwards  in  the  collection  of  M.  Forbin-Jans  ox, 
Director  of  the  Louvre,  at  whose  sale  it  was  purchased  by  the  pro- 
prietor. 

SCHOOL  OF  GUIDO,  (1515  to  1641.) 

51.  Magdalen  in  a  trance. 

The  Magdalen,  a  noble  and  voluptuous  figure,  leans  back 
with  clasped  hands,  and  gazes  heavenward  with  an  expression 
of  wrapt  fervor.  She  is  entirely  unconscious  of  the  presence  of 
a  person  who  bends  over  her  with  an  air  of  concern.  This 
picture  is  one  of  the  neblest  productions  of  its  school.  The 
form  and  the  expression  of  the  principal  figure  are  truly 
grand  ;  and  the  clasped  fingers  of  the  one  and  the  half  opened 
hands  of  the  other,  are  the  work  of  a  pencil  inspired  by  na- 
ture, and  successfully  emulative  of  Michael  Angel o.  The 
head  of  the  Magdalen  is  evidently  a  reminiscence  of  that 
of  the  JViobe  discovered  at  Rome  about  the  epoch  of  the 
painter. 
*^*  This  picture  is  from  the  collection  of  Louis  Philippe. 

ARTEMISIA  GENTILESCHL 

Artemisia  Gentilkschi  was  born  at  Pisa  in  1590,  and  was  the  daughter  and 
pupil  of  the  painter  Orazio  Lomi  Gkntilesciii.  She  accompanied  her  father 
to  England,  where  she  painted  many  fine  portraits  of  distinguished  persons  ;  but 
she  passed  most  of  her  time  at  Naples  and  Bologne.  Her  style  was  formed  by  the 
study  of  the  works  of  Guido  aud  Domenichino.    She  died  in  1642. 

52.  Christ  disjDnting  witli  tlie  Doctors. 

Christ,  represented  as  a  youth  of  noble  and  ingenuous 
mien,  stands  in  the  midst  of  three  doctors,  in  the  attitude  of 


40  BRYAN   GALLERY. 

argument  and  reckoniDg  the  points  of  tlie  subject  in  dispute 
upon  his  fingers.  The  figure  to  whom  he  particularly  ad- 
dresses himself  is  confused  and  enraged  at  his  discomfiture. 
Of  the  other  two,  one  looks  with  scorn,  the  other  with  won- 
der upon  the  presumption  of  the  youthful  prodigy.  There  is 
much  dramatic  eflfect  in  this  picture  ;  the  heads  are  expres- 
sive and  characteristic ;  and  the  coloring  is  rich,  though  not 
clear.  The  crimson  robe  of  the  principal  figure  is  well 
painted. 

SUSTERMANS. 

Justus  Sustkrmans,  sometimes  called  Subtermans,  although  bom  at 
Antwerp  in  1597,  is  considered  as  of  the  Italian  School,  from  his  having  studied 
in  Florence,  and  formed  his  style  upon  Italian  models.  To  the  Italian  style  of 
design,  he  added  the  rich  color  of  his  native  schools.  As  a  portrait  painter,  he  is 
deemed  almost  the  equal  of  Vandyke.    He  died  in  1681. 

53.  Portrait  of  Galileo  Galilei. 

This  is  a  bold  and  characteristic  portrait  of  the  famous 
philosopher  who  called  through  the  key-hole  of  a  dungeon 
of  the  Inquisition,  "  The  world  turns  round."  He  is  repre- 
sented in  the  costume  which  appears  in  all  his  other  portraits, 
and  has  in  his  right  hand  the  telescope  of  which  he  was  the 
inventor.  The  color  is  rich,  and  the  modelling  bold  and 
skilful. 

*^*  From  the  collection  of  Louis  PiiiLiprE. 

UNKNOWN  ARTIST. 

54.  Portrait  of  a  Professor. 

The  painter  of  such  a  head  as  this  should  not  lose  the 
credit  of  such  an  admirable  performance.  It  represents  a 
grave,  intelligent  man,  with  a  double  pointed  beard,  wearing 
a  flat  cap  and  a  doctor's  robe,  and  holding  a  book  and  a  ferule. 


ITALIAN    SCHOOL. 


41 


The  tone  of  the  flesh  is  too  warm,  and  the  tint  is  opaque  ;  but  in 
the  life  which  looks  from  the  eyes,  and  the  true  and  decided 
expression  of  the  forms  of  the  face,  the  picture  has  few 
superioi-s  even  among  the  works  of  the  greatest  artists. 

SASSOFERRATO. 

It  is  probable  that  there  were  two  or  more  painters  of  distinction  to  whom  ibis 
name  was  given,  and  whose  works  have  been  confounded.  Giovanni  Batist.v 
Salvi,  who  was  the  greatest  of  the  name,  was  the  son  of  Tarquinio  Salvi,  a 
painter  little  known  ;  and  was  born  in  1605,  according  to  general  belief.  He  was 
the  pupil  of  his  father  and  of  Domknichino.  Lanzi  says  of  him  :  "  lie  painted 
with  a  flowing  pencil,  was  varied  in  his  coloring,  and  had  fine  relief  and  chiar 
oscuro,  but  in  his  local  tints  was  somewhat  hard."  He  painted  much  in  the 
styles  of  Gdido,  Baroccio,  Albano  and  Eapuael,  whose  works  he  often  copied. 
He  died  at  Rome,  in  1685. 

55.  Virgin  and  Child. 

The  infant  Christ  lies  sleeping  on  his  mother's  right  arm ; 
she,  leaning  on  the  other,  tenderly  watches  his  slumbers. 
The  bright  silvery  tone  of  the  flesh,  the  graceful  and  carefully 
drawn  extremities,  and  the  expression  of  perfect  repose  in  the 
limbs  and  countenance  of  the  infant,  are  the  chief  points 
worthy  of  admiration  in  this  picture,  which  is  very  charac- 
teristic, in  all  points,  of  the  Master. 

SALVATOR  ROSA. 

Salvator  Rosa  was  the  sou  of  a  land  surveyor,  and  was  born  at  Naples,  in 
1615  He  was  well  educated  in  letters,  and  placed  as  a  pupil  in  design  with 
Francesco  Francazano,  hia  brother-in-law.  He  afterwards  studied  with 
Falcone,  and  with  Spagnoletto.  He  is  chiefly  distingui:shed  as  a  painter  of 
wild  and  sombre  landscapes,  which  he  fills  with  a  fascinating  gloom,  and  at  times 
with  a  wildness  almost  savage  in  its  expression.  The  figures  which  he  introduces 
are  in  admirable  keeping  with  the  scenes  in  which  they  appear.  He  was  dis- 
tinguished, also,  as  a  poet,  and  even  as  an  actor  :  but  there  is  much  romancing 
about  him  which  has  no  foundation.    He  died  at  Rome,  in  1673. 

56.  Landscape,  witli  Historical  Figures. 

It  has  been  found  impossible  to  discover  the  subject  of 


42  BRYAN    GALLERY. 

this  grand  landscape.  From  a  ruined  building,  of  large  pro 
portions,  wliicli  stands  upon  tlie  bank  of  a  small  inlet,  a 
cavalcade  issues,  and  is  about  to  pass  over  a  dead  body  whicli 
lies  in  its  way.  This  excites  the  horror  of  some  armed  men 
in  Eastern  costume,  who,  with  some  women  and  children, 
are  beneath  a  large  tree  on  the  opposite  side  of  the  compo- 
sition. Two  boatmen  have  brought  their  bark  up  into  the 
little  inlet,  and  sit  upon  the  bank.  The  opposite  shore  of  the 
inlet  rises  into  a  high  bluff,  on  the  seaward  side  of  which 
several  small  vessels  are  moored.  In  the  distance,  hills,  on 
which  are  ruined  buildings,  roll  heavily  down  to  the  sea. 
The  composition  is  full  of  the  gloom,  the  ^ngor,  and  the 
wildness  which  distinguish  the  Master  from  all  other  painters 
of  landscape. 

57.  Landscape.     (Scliool  of  Salvator  Rosa.) 

In  the  foreground,  on  the  right,  is  a  pool  of  water 
which  lies  before  a  ruined  wall  of  an  old  building  over- 
shadowed by  foliage.  On  the  left  is  a  dark  clump  of  trees. 
Five  figures  appear  between  these  two  points.  In  the  back 
ground  is  a  hilly  landscape,  with  figures  and  buildings. 

CANALETTO. 

Antonio  Canal,  called  Canaletto,  was  born  at  Venice  in  1C97,  He  was  the  son 
and  pupil  of  a  scene  painter,  but  visited  Rome  for  the  purposes  of  study.  Returning 
to  Venice,  he  tbund  in  its  canals,  lagunes,  and  noble  architecture,  the  objects  upon 
which  he  gladly  exercised  his  light,  truthful,  and  sparkling  pencil.  In  truth  of 
aerial  and  linear  perspective,  and  sparkling  effects  of  light,  his  works  are  not  sur- 
passed.   He  died  in  1768. 

58.  Marine  View,  with  Architecture. 

This  is  apparently  a  view  on  the  lagune  of  Venice.  A 
stone  quay,  on  ^\hich  are  the  porch  of  a  large  building,  a 
small  temple  with  a  dome,  and  an  obelisk,  occupies  the  left  of 


FLEMISH   AND   DUTCH   SCHOOLS. 


43 


the  composition;  the  right  shows  the  open  bay,  on  whose 
calm  surface  are  four  vessels,  two  near  the  quay,  and  two  in 
the  distance.  On  the  quay  in  the  foreground,  are  several 
figures.  In  the  remote  distance  is  a  large  white  building. 
The  fine  perspective  of  the  architecture  and  quay,  and  the 
hmiinous  sky,  in  which  the  lightest  of  clouds  are  floating  with 
changing  shapes,  are  admirable  points  in  this  characteristic 
specimen  of  a  master  who  wiU  doubtless  hold  his  own  in 
spite  of  Mr.  Ruskin's  thunder. 


FLEMISH  AND  DUTCH  SCHOOLS. 


VAN  ARTOIS. 

Jacques  Van  Artois  was  bom  at  Brussels,  in  1614,  His  works  give  evidence 
that  he  was  a  pupil  of  Wildens.  His  landscapes  are  remarkable  for  the  grand 
forms  of  the  trees,  foliage  which  seems  in  motion,  and  lightly  touched  distances 
and  skies.  He  was  an  intimate  friend  of  Teniers,  who  often  added  figures  to  his 
compositions     He  died  in  1665. 

59.  A  Landscape. 

Through  a  vista  in  the  edge  of  a  wood  an  undulating 
country  is  seen.  In  the  foreground  is  a  fallen  tree,  on  the 
right  of  which  is  water,  upon  which  are  swans ;  on  the  left  is 
a  group  of  hunters.  The  foliage  of  the  large  tree  on  the  left 
is  remarkable  for  its  noble  fonns.  The  sky  and  distance  in 
their  light  azure  tint  show  the  influence  of  Wildens  ;  and 
the   same  traits  may   be  traced  in  the  next  landscape  by 

HUYSMAN  DE  MaLINES. 

**  From  the  collection  of  Marshal  Oudinot. 


44:  BRYAN   GALLERY. 

ASSELYK 

Jan  Asselyn,  a  pupil  of  E.  Vandevelde,  was  bora  at  Antwerp,  in  1610.  He 
visited  Italy,  and  there  imbibed  some  of  the  spirit,  and  acquired  somewhat  of  the 
manner  of  Claude.  His  works  are  admirable  for  the  tender  light  which  pervades 
them.  They  generally  contain  figures  and  cattle,  in  the  manner  of  Berghem, 
He  died  in  16G0. 

60.  Landscape. 

Figures  and  animals  are  passing  along  a  road  which  leads 
through  a  gateway.  On  the  right  is  dense  foliage,  on  the 
left,  water. 

*^*  This  picture  is  of  questionable  merit,  but  unquestionable 
originality. 

BAKHUYSEN. 

Louis  Bakhuysen,  one  of  the  most  celebrated  of  marine  painters,  was  born  at 
Emden,  in  1631.  He  became  the  pupil  of  E.  Van  Everdingen.  No  painter  has 
surpassed,  perhaps  we  should  say  equalled  him  in  representing  the  grandest 
effects  of  sky  and  water.  His  pictm-es  are  eagerly  sought  at  high  prices.  He  died 
at  Amsterdam,  in  1709. 

61.  Marine  View. 

A  ship,  with  two  luggers  and  a  small  boat,  are  the 
prominent  objects  in  a  wide  bay  open  to  the  sea.  The  w^ater 
undulates  gently  under  the  influence  of  a  light  breeze.  In 
the  distance  are  other  vessels  ;  and  upon  the  horizon  appear 
the  spires  and  domes  of  a  large  city. 

62.  Marine  View. 

This  picture,  which  is  evidently  cut  from  a  larger  compo- 
sition, represents  three  vessels  in  a  stiff  breeze.  The  ship  fii-es 
a  salute.  Three  figures  are  upon  a  rock  in  front.  The 
effects  of  the  rising  gale  are  given  with  spirit  and  truth,  both 
in  the  water  and  the  rigging  of  the  vessels. 

*^*  These  are  not  satisfactory  specimens  of  the  Master,  though 
the  proprietor  considers  them  to  be  authentic. 


FLEMISH   AND    DUTCH   SCHOOLS.  45 


BEERESTRATEN. 

Jan  Bkerestratkn,  a  noted  Dutch  marine  painter,  hag  left  us  no  memoranda 
of  his  birth,  family  or  education.  His  views  of  ports  and  vessels  at  anchor  were 
sometimes  decorated  with  figures  by  Linglebach.    He  died  in  1687. 


63.  Winter  Scene. 

A  frozen  river,  on  -which  are  skaters  and  sleighs,  occupies- 
the  front  of  the  picture,  and  disappears  in  the  distance  on  the 
left.  On  the  opposite  side  to  the  observer  are  ancient 
buildings.  The  atmosphere  and  general  aspect  of  the  depth 
of  winter  are  admirably  well  expressed,  and  the  action  of  the 
figures  is  graceful  and  natural. 

*^*  This  is  the  finest  specimen  of  the  Master  ever  seen  by  the 
proprietor.     It  graced  the  collection  of  Cardinal  Fzscir. 

BEGA. 

Cornelius  Bega  was  born  at  Harlaem,  in  1620.  He  was  the  scholar  of  Adrien 
Van  Ostade,  whose  manner  of  painting  and  style  he  successfully  emulated.  He 
died  at  his  native  place  in  1664. 

64.  Boors  Regaling. 

In  a  rude  tavern  six  booi-s  are  drinking  and  smoking 
round  an  upturned  tub.  A  woman  brings  them  schnapps  in 
a  small  bottle.  This  picture  is  somewhat  dark  and  coarse  in 
color ;  but  what  a  truthful  embodiment  of  the  very  spirit  of 
boorishness  does  it  present,  in  form,  attitude  and  expression  ! 

%*  It  is  the  finest  specimen  of  the  Master  known  to  the  pro- 
prietor. 

VAN  BERGEN. 

Thierry  Van  Bergen  was  bom  at  Harlaem,  in  1645,  and  became  the  pupil  of 
Adrian  Vandevelde.  His  landscapes  are  admired  for  their  warmth  of  color 
and  pleasing  design,  but  he  failed  to  attain  the  finish  and  the  truthfulness  of  his 
master.    He  died  at  Amsterdam,  in  1669. 


46  BRYAN    GALLERY. 

^5.  Landscape. 

We  look  along  a  broad  road,  sheltered  by  trees,  by 
the  side  of  \vliicli  are  small  buildings  of  Grecian  archi- 
tecture. In  the  distance  is  a  winding  river,  on  the  banks  of 
■which  is  a  large  town.  Equestrian  figures  occupy  the  fore" 
ground.  There  is  a  semblance  of  reality  about  this  picture, 
but  it  is  not  composed  or  painted  with  the  hand  of  genius. 

*^*  This  is  not  a  remarkable,  though  it  is  an  authentic  specimen 
of  the  Master. 

BERGHEM. 

Nicolas  Bergiiem's  family  name  was  Von  Harlaem.  He  was  born  at  Har- 
laem,in  1624,  and  was  successively  the  pupil  of  his  father,  VanGoyen,  Moyakrt, 
Grebbkr,  and  Weeninx.  He  is  one  of  the  greatest  Flemish  masters  of  land- 
scape painting.  His  style  of  composition,  his  transparency  of  tint,  and  his 
management  of  the  efiTects  of  light  and  shade  are  not  only  so  admirable  but  so 
peculiar,  that  his  works  can  never  be  mistaken  by  an  eye  of  any  accuracy  and 
experience.  His  pictures  are  distinguished  by  the  excellence  of  the  groups  of 
figures  and  animals  which  occupy  a  prominent  place  in  them.  He  died  at  Har- 
laem,  in  1683. 

66.  Landscape,  with  Oxen  at  the  plough.  (Copy.) 

The  oxen  are  finely  drawn  and  colored,  and  their  action, 
as  well  as  that  of  their  driver  and  the  ploughman,  is  spirited. 
The  gradations  of  light  in  the  sky  are  delicate  and  truthful, 
and  the  glow  of  the  horizon  contrasts  effectively  with  the  dark 
shrubbery. 

*^*  This  picture  was  considered  a  Berghem  by  the  Comte  d  e 
TuRENNE  ;  but  it  is  only  an  agreeable  copy. 

67.  Cattle  and  Herdsmen. 

Two  cows  and  two  goats  stand  with  their  keeper  near 
some  ruins.     The  goats  are  painted  with   rich,  clear  color 


FLEMISH   AND  DUTCH   SCHOOLS.  47 

and  a  spirited  touch,  and  the  light  falls  broadly  upon  the 
group,  which  is  happily  composed. 

» 
authentic. 


,*  This  little  picture,  thougli  much  injured,  is  unquestionably 


VAN  BLOEMEN. 

Petrus  Van  Bloemen,  who  was  called  Standaert,  was  a  native  of  Antwerp, 
and  brother  to  the  celebrated  Jan  Franc  von  Bloemen.  He  studied  in  Italy, 
where  he  acquired  his  surname,  from  his  habit  of  painting  battle  pieces.  His 
pictures  consist  chiefly  of  cattle  fairs,  marches  of  cavalry,  or  battle  pieces,  and 
are  remarkable  for  a  truthfulness  of  design  worthy  of  the  best  Italian  school.  He 
was  born  in  1649,  and  died  in  1719. 

68.  Cattle  Market. 

The  ruined  buildings  near  which  the  cattle  are  grouped,, 
are  the  remains  of  the  Palace  of  the  Cnesars,  near  Rome. 

69.  Halt  of  Soldiers. 

The  open  space  in  front  of  a  rambling,  half  finished,  half 
ruined  Italian  hostelry,  is  filled  with  cattle  and  the  horses  of 
a  troop  of  soldiers,  some  of  whom  are  seen.  The  forms  of 
the  animals  are  remarkable  for  their  correctness,  and  the  ac- 
tion of  each  one  for  its  characteristic  truth. 

YO.  Halt  of  Cavaliers. 

Two  horses  accoutred  for  the  march,  occupy  nearly  all 
the  canvas.     In  the  background  two  hoi*seraen  jcome  up. 

*^*  The  first  two  of  these  pictures  were  engraved  as  the  works 
of  De  Laer,  b}"  an  English  engraver,  in  1769  :  an  error  of  names, 
but  not  of  appreciation  at  that  time,  when  De  Laer  was  rated  with 
WouvERMANS.  Tlic  proprietor  is,  however,  willing  to  risk  the  state- 
ment of  his  opinion,  that  for  accuracy  of  observation  as  to  the 
characteristic  action  as  well  as  the  for^  of  the  horse,  Van  Bloe- 
men is  before  "Wouvermans. 


48  BRYAN   GALLERY. 


BOTH. 

Jan  Both  was  born  at  Utrecht,  in  1610,  and  painted  his  marvellous  pictures  in 
coujuuction  with  his  brother,  Andre,  who  was  five  years  his  junior.  Their  first 
master  was  their  father,  a  painter  on  glass ;  but  they  afterward  became  pupils 
of  Abraham  Van  Bloemart,  and  finally  went  to  Rome.  Here  Jan  Both  devoted 
himself  to  landscape  painting  with  such  success  that  he  became  a  rival  to  Claude  ; 
while  Andre,  adopting  the  style  of  Bamboccio,  enlivened  his  brother's  pictures 
with  groups  of  figures  equally  charming  in  design  and  color.  The  warm,  yet 
fresh  and  harmonious  color  of  Jan  Both,  has  rarely  been  equalled.  He  died  at 
Utrecht,  in  1650,  five  years  after  his  brother,  who  was  dj-owned  in  one  of  the 
canals  of  Venice. 


71.  Landscaj)e. 

A  plain,  through  which  a  river  flows,  stretches  away  from 
low  bluffs  which  occupy  the  right  of  the  composition.  In  the 
foreground  is  a  small  clump  of  slender  trees,  on  the  brink  of 
a  pool.  The  charm  of  this  picture  lies  in  the  dreamy,  slurnb- 
rous  air  which  pervades  it,  and  in  the  warm,  sunny  haze 
which  hangs  like  a  halo  over  its  beauties.  The  atmosphere 
is  most  seductive  to  an  invalid  ;  the  scene  seems  to  be  the 
place  of  all  others  in  which  to  seek  the  dolce  far  niente. 

72.  Landscape. 

Three  slender  trees  of  graceful  form  principally  occupy 
the  eye  in  this  composition.  In  the  foreground  is  an  old 
Roman  arch ;  and  in  the  distance,  looking  between  low,  abrupt 
hills  and  the  edge  of  a  wood,  we  see  an  undulating  country 
in  finely  marked  aerial  perspective.  The  outlines  in  this 
composition  are  more  clearly  defined  than  in  the  former ;  a 
clear  atmosphere  is  found  in  every  part  of  it,  and  the  foliage 
is  truthful  and  vigorous  in  color. 


'73.  Italian  Landscape.     Sunrise. 


FLEMISH   AND   DUTCH   SCHOOLS.  49 

?4.  Italian  Landscape.     Sunset. 

These  pleasing  sketches  have  the  tone  of  the  master,  but 
are  not  to  be  regarded  as  fair  specimens  of  his  abihty.  Their 
comparative  feebleness,  however,  results  merely  from  the  un- 
finished state  in  which  they  were  left.  In  design  they  are 
admirable.     The  spirited  figures  are  byLixGELBAcn. 

BRAKENBURG. 

Richard  Brakenburg,  a  painter  who  distinguished  himself  in  the  style  of 
MiERis  and  Gerard  Douw,  was  born  at  Harlaem,  in  1650.  He  was  the  pupil  of 
MoMMERs  and  of  Bernard  Schendel.  His  touch  is  spirited,  his  color  truth- 
ful, and  his  composition  ingenious  and  pleasing ;  but  his  drawing  is  not  always 
correct.  The  works  of  Ostade  were  evidently  not  without  their  influence  upon 
him.    He  died  in  his  native  place,  in  1702. 

To.  Interior  of  a  Tavern. 

A  traveller,  seated  at  a  table,  jests  coarsely  upon  an  ap- 
proaching event  with  his  young  hostess,  whom  he  has  just 
paid.  Her  seiTant  raises  his  broad-leafed  hat  to  enjoy  her  part 
of  his  joke.  In  the  back  ground  are  four  figures.  The  heads 
are  expressive  and  characteristic,  and  the  color  harmonious. 

*^*  It  is  signed  botli  by  Brakenburg  and  Jan  Steex,  and  bears 
everywhere  marks  of  the  careful  assistance  of  the  latter,  which 
greatly  enhances  its  value. 

BRAMER. 

Leonard  Bramer  was  bora  at  Delft,  in  1596  ;  and  it  has  been  supposed  that 
he  studied  with  Rembrandt,  whose  influence  is  evident  in  his  works.  He  visited 
France  and  Italy,  and  acquired  a  style  remarkable  for  fine  expression.  His  color 
is  excellent,  and  his  management  of  light  and  shade  striking.  His  pictures,  which 
are  historical  compositions,  are  often  illuminated  by  fire  light,  or  the  rays  which 
pierce  the  gloom  of  caves.  He  died  in  his  native  place :  it  is  not  known  exactly 
when. 

T6.  Adoration  of  tlie  Magi. 

The  Virgin,  with  the  infant  Christ  and  Joseph,  sits  in 


50  ERTAN   GALLEEY. 

front  of  a  ruined  building.  Around  them  the  Magi  are 
grouped  in  adoration.  The  distribution  of  the  hght  in  this 
httle  picture  is  truly  grand,  and  the  color  is  rich  and  harmo- 
nious. The  influence  of  Rembrandt  is  apparent  in  every 
touch. 

CHAMPAGNE. 

Philippb  de  Champagne,  one  of  (he  most  di?tinguished  artists  of  the  Flemish 
school,  and  almost  without  a  superior  as  a  painter  of  portraits  and  single  figures, 
was  born  at  Brussels,  in  16U2.  He  became  the  pupil  of  Bouillon,  Bourdeaux, 
and  of  FouQUiEREs,  from  whom  alone  be  received  much  advantage.  As  he 
passed  most  of  his  life  in  France,  he  is  regarded  by  many,  and  claimed  by  the 
French  as  of  the  French  school.  His  pictures  are  remarkable  for  a  faithful  imita- 
tion of  nature.  They  produce  all  the  effect  of  the  actual  object  represented.  His 
mastery  of  color,  particularly  of  flesh  tints,  is  wonderful ;  so  much  so,  that  he  does 
not  hesitate  to  paint  fair  complexions,  surrounded  with  white  drapery  only, — 
and  always  with  success.    He  died  at  Paris,  in  1674. 

11,  Portrait  of  a  Jansenist. 

A  gentleman,  wearing  flowing  hair,  and  whose  dress,  ex- 
cept the  embroidered  collar  and  ruSles,  is  covered  by  a  black 
cloak,  holds  a  spaniel  on  his  left  arm  and  a  paper  in  his 
right  hand.  There  is  an  expression  of  fidelity  about  this  pic- 
ture which  becomes  astonishing,  almost  oppressive,  as  it  is 
long  and  closely  examined.  The  flesh  tints  have  the  purity 
for  which  the  Master  is  celebrated ;  and  the  hand  is  worthy 
the  admiration  of  the  connoisseur,  and,  it  may  be  justly  added, 
the  study  of  the  artist.  The  portrait  of  the  dog  seems  to 
be  as  faithful  as  that  of  his  master. 

***  The  picture  is  a  fair  specimen  of  the  Master. — Coll.  Vie.v. 

IS.  St.  Paul. 

The  head,  bust,  and  hands,  of  the  Saint  are  seen. 
The  left  hand  holds  and  rests  upon  a  book  ;  the  right  is 
raised  in  an  attitude  of  admonition.     This  picture  might  be 


FLEMISH    AND   DUTCH    SCHOOLS.  51 

classed  in  the  Flemish  School ;  but  its  comparative  coldness 
of  color  and  somewhat  theatrical  manner  give  it  a  place  in 
the  French  School,  between  which  and  the  Flemish,  Philip 
DE  Champagne  is  the  connecting  hnk.  In  the  drawing  of 
the  hand  we  see  the  work  of  the  same  accurate  pencil  which 
produced  that  in  No.  77,  which  is  in  the  Flemish  room. 

KLOMP. 

Albert  Klomp  painted  landscapes  with  cattle,  in  the  manner  of  Paul  Potter. 
His  touch  is  free,  and  his  drawing  correct.  The  time  and  place  of  his  birth  and 
death,  and  his  master,  are  alike  unknown.  His  works  bear  date  from  J 602  to 
1G3-2. 

T9.  Cattle  ill  a  Landscape. 

An  ox,  with  goats  and  sheep,  occupy  the  greater  portion 
of  the  canvas.  This  Httle  picture  is  but  a  tolerable  specimen 
of  the  blaster.  The  sheep  and  goats  are  natural,  and  truth- 
fully painted.  The  huge  and  apparently  disproportionate 
ox,  is  probably  a  portrait  of  a  prize  animal,  as  the  owner  ap- 
pears in  the  background  soliciting  the  admiration  of  a  lady 
for  his  pet  prodigy. 

COQUES. 

Gonzales  Coques,  a  painter  who  emulated  and  sometimes  rivalled  Van  Dyck, 
was  born  at  Antwerp,  iu  1618.  He  studied  with  David  Ryckakrt,  but  learned 
nothing  from  him  save  the  elements  of  his  art ;  not  having  followed  the  example 
of  his  master  in  any  important  respect,  except  in  the  choice  of  his  early  subjects. 
He  painted  many  interiors  in  the  manner  of  Tenikrs,  Ostade,  and  his  master; 
but  the  bulk  of  his  work  is  in  portraiture,  in  which  he  had  but  one  superior  or 
rival.  Van  Dyck.  His  flesh  tints  are  remarkably  pure,  and  the  correctness  of  his 
drawing  astonishing.  Although  his  heads  are  often  very  small,  his  style  is  so 
grand  that  their  miniature  size  is  forgotten  in  a  few  moments'  contemplation  of 
them.    He  died  at  Antwerp  in  1684. 

80.  An  Equestrian  Portrait. 

A  person,  evidently  of  some  distinction,  and  dressed  in  the 
5 


52  BRYAN    GALLERY. 

extreme  of  the  fashion  of  the  day,  on  horseback.     The  face 
has  character,  but  the  horse  is  stiff  and  conventional. 

%*  The  picture  gives  but  a  feeble  idea  of  tlie  merit  of  the 
painter. 

CUYP. 

Albert  Ccyp,  who  is  perhaps  the  greatest  landscape  painter  of  the  Flemish 
school,  was  born  at  Dort,  in  1606.  He  was  the  pupil  of  his  father,  Gerritze 
CuYP,  a  painter  of  merit,  but  little  distinction.  His  model  was  Nature  as  she 
revealed  herself  in  the  vicinity  of  his  native  town  ;  his  only  actual  teacher  was 
his  own  genius.  He  delighted  in  representing  upon  his  canvas  the  fields  upon 
the  border  of  the  Maes  river,  studded  with  cattle  and  figures ;  and  in  the  exquisite 
purity  of  his  aerial  tints  in  these  scenes,  and  in  the  truthfulness  with  which  he 
distinguishes  the  skies  of  morning,  noon,  and  evening,  and  moonlit  night,  he  is 
almost  without  a  rival,  even  in  the  boast  of  Italy,  Clavde,  whose  works  surpass 
his  chiefly  in  their  superiority  of  sentiment  and  grandeur  of  composition.  He  also 
painted  horse  fairs,  cavalry  pieces,  and  figures.  Indeed,  there  is  no  department 
of  his  art,  except  the  grand  historical  style,  which  he  did  not  try.  His  color  is 
remarkable  for  its  richness  and  transparency,  and  his  touch  for  its  decision.  He 
was  living  in  1672,  but  the  time  and  place  of  his  death  is  unknown. 

81.  Cattle  and  Figures  in  a  Landscape. 

Two  cows  and  a  dog  stand  in  a  pool,  by  the  side  of  rocks 
on  which  are  stunted  trees.  Two  figures  sit  in  the  first 
distance :  another  is  beyond  them.  The  time  is  a  mellow 
summer  afternoon.  The  glowing,  though  subdued  tone  of 
this  picture,  its  fine  atmosphere,  and  the  absolutely  marvellous 
touches  of  light  upon  the  cattle,  make  it  a  fine  specimen  of 
the  Master's  matured  manner. 

82.  Portraits  of  the  Burgomaster  d'Eyselylm  and 

liis  family. 

The  father,  mother,  two  girls  and  a  boy,  and  two  goats, 
are  formally  disposed  in  a  landscape,  without  regard  to 
grouping.  A  picture  evidently  of  perfect  fidelity,  and 
infinitely  amusing  as  an  expression  of  Flemish  formality  and 
primness.  The  artist  has  painted  every  fold  and  plait  of 
the  freshly  folded  and  plaited  aprons  upon  those  queer  little 


FLEMISH   AND   DUTCH   SCHOOLS.  53 

pyramidal  figures  whom  we  call  girls,  by  comiesy  ;  but  who 
look  only  a  year  or  two  younger  than  theu*  hard-featured 
mother.  Even  the  stitches  in  the  red  soled  shoes,  which 
terminate  the  holiday  costume  of  the  whole  party  as  it 
stands  in  ineffable  primness,  have  been  painfully  reproduced. 
The  faces  are  remarkable  for  character  and  individuality,  and 
the  extremities  for  careful  drawing. 

%*  This  picture  is  of  a  rare  style  with  this  Master,  and  was 
painted  while  he  was  still  under  the  influence  of  his  father.  Cer- 
tain touches  in  the  foreground  and  sky  of  the  landscape,  which  is 
by  another  hand,  harmonize  it  with  the  figures,  and  announce  Cuyp's 
future  eminence  in  that  department  of  the  art. 

DEBOIS. 

Of  this  painter's  history  nothing  is  known. 

83.  Landscape,  with  Figures. 

Three  equestrians  are  passing  through  a  wooded  glade. 
The  light  foliage,  fresh  and  juicy  in  color,  and  sharply 
relieved  against  the  sky,  is  much  in  the  manner  of  Ruysdael. 

*^*  The  simiLarity  of  many  parts  of  this  picture  to  the  works  of 
RursDAEL  is  so  great,  that  some  dealer  more  keen  than  honest,  had 
placed  his  signature  over  that  of  the  actual  painter.  Upon  clean- 
ing the  picture,  the  fictitious  signature,  of  course,  disappeared,  and 
that  of  Debois,  with  the  date,  1652,  was  brought  to  light.  The 
great  likeness  of  the  artist's  style  to  that  of  Ruysdael,  has,  doubt- 
less, induced  many  other  tricks  of  the  same  nature ;  and  hence 
results  the  unmerited  obscurity  of  a  landscape  painter  of  no  mean 
powers,  who  preceded  Ruysdael,  and  whose  works  are  important 
in  the  history  of  Art,  as  showing  the  origin  of  that  Master's  style 
of  treating  the  foliage  and  branches  of  trees. 

DE  VRIES. 

Dk  Vries  is  one  of  the  best  of  the  followers  of  Ruysdael.  He  flourishal 
about  the  year  1600.    His  pictures  have  often  been  taken  for  thos?  of  Ruysdael 


54:  BKYAN    GALLERY. 

84.  A  Landscape. 

A  rude  house  raised  on  piles,  and  sheltered  by  a  single 
tree,  stands  by  the  side  of  a  small  stream.  In  the  foreground 
are  boats  and  a  figure. 

DIETRICH. 

Christian  "William  Ernest  Dietrich  was  bom  at  Weimar,  in  1712.  His 
masters  were  his  fiither,  and  a  painter  of  landscapes,  named  Alexander  Thiel. 
His  manner  was  not  original;  tlie  works  of  Rembrandt,  Ostade,  Poelemberg, 
and  Salvator  Rosa,  being  alternately  the  objects  of  his  imitation.  His  chief 
excellence  was  in  color.  As  an  engraver  he  attained  some  eminence.  We  do 
not  know  when  and  where  he  died. 

85.  The  Presentation  at  the  Temple. 

A  composition  of  many  figures.  Simeon  holds  the  infant 
Christ,  and  Mary  kneels  before  him.  The  hght  falls  in  a 
broad  mass  upon  the  group,  and  upon  a  table  covered 
with  a  white  cloth,  near  by,  producing  a  most  brilliant  effect. 
The  grouping  is  remarkable  for  its  ease,  and  the  shadows  are 
wonderfully  clear. 

*^*  This  is  the  first  picture  bought  by  the  proprietor,  in  Europe. 

86.  Abraham  Discarding  Hagar. 

The  Patriarch  stands  upon  the  steps  of  his  house,  with 
Sarah  and  Isaac  behind  him.  Before  him  are  the  weeping 
Hagar  and  Ishmael,  laden  for  their  journey  into  the 
wilderness.  In  the  back  ground  are  two  shepherds  with 
their  flock,  who  regard  the  scene  with  interest.  This 
picture,  though  not  so  well  composed  or  so  fine  in  chiar- 
oscuro as  the  former,  is  its  superior  in  color. 

VAN  DYCK. 

Anthony  Van  Dyck  was  born  at  Antwerp,  in  1599.  His  first  preceptor  in  the 
art  in  which  he  was  to  win  such  unfading  laurels,  was  Henry  Van  Balen  ;  but  it 


FLEMISH   AND   DUTCH   SCHOOLS.  55 

was  in  the  studio  of  Rlbkns  that  he  received  the  traiuing  which  developed  his 
powers.  He  had  not  been  long  with  that  great  master  of  color,  when  he  repainted 
so  skillfully  a  face  and  arm,  which  had  been  injured  by  his  fellow  students,  that 
RiBENS,  even  after  he  discovered  that  the  work  was  not  his  own,  permitted  it  to 
remain.  He  studied,  in  Italy,  the  works  of  Titian  and  Paul  Veronese,  and, 
arriving  in  England,  was  covered  with  honors  and  rewards.  He  remained  in 
London  till  his  death,  which  took  place  in  1G41.  He  is  one  of  the  great  portrait 
painters  whose  works  in  this  department  rise  into  the  grandeur  of  historical  pro- 
ductions; and  his  strictly  historical  works  often  rival  those  of  his  master,  who' 
if  he  possessed  more  fire  and  power  than  his  pupil,  has  certainly  exhibited  less 
sentiment  and  delicacy. 

87.  Tlie  Crucifixion. 

The  single  figure  of  the  dying  Saviour  on  the  cross.  The 
fine  anatomy  and  the  beautiful  flesh  tint  of  the  body — upon 
which  the  hght  falls  broadly — and  the  noble  sorrow  of  the 
countenance,  demand  the  admiration  of  every  one  who  looks 
at  this  picture.  It  is  evidently  a  finished  sketch  for  a  larger 
work.  The  limbs,  especially  the  left  arm,  and  the  head, 
wbich  are  in  shadow,  are  of  a  greenish  gray  tint,  quite 
characteristic  of  the  Master.  The  successful  treatment  of 
flesh  tint  in  juxtaposition  with  white  drapery,  is  one  of  the 
triumphs  of  art  attained  only  by  its  greatest  Masters. 

*^*  Tliis  picture  is  in  the  best  possible  condition,  and  must  be 
acknowledged  to  be  a  fine  specimen  of  the  Master's  highest  style. 

88.  Portrait  of  a  Lady. 

A  three-quarter-length  portrait  of  a  beautiful  and  richly 
dressed  lady,  sitting.  She  leans  her  head  upon  her  left  arm. 
Over  her  right  shoulder  a  cupid  hovers,  and  lays  his  hand 
upon  her  bosom.  The  fresh,  clear  flesh  tints  of  this  picture 
delight  alike  the  experienced  and  unexperienced  eye.  It  is, 
in  composition  and  execution,  one  of  the  most  charming  and 
characteristic  of  the  Master's  works  ;  and  is  almost  without 
spot  or  blemish. 


56  BRYAN   GALLERY. 

*^*  This  picture  belonged  to  General  D'Espinoy's  large  and 
famous  collection  of  portraits.  It  -was  covered  with  the  dust  of 
time ;  and  the  ciipid,  which  the  proprietor  found  in  perfect  preser- 
vation, had  been  painted  out  by  some  sacrilegious  hand.  It  is  now 
presented  a  farlessly  to  the  most  captious  critic  as  a  miracle  of  art, 
and  a  work  worthy  of  Ajvthoxy  Yax  Dtck. 
From  the  collection  of  the  General  D'Espixoy, 

89.  Portrait  of  Charles  I. 

The  monarch  is  represented  on  the  same  canvas  in  front, 
profile,  and  three-quarter  view.  The  object  in  presenting 
such  a  picture  was,  as  the  reader  will  remember,  to  enable 
the  Italian  sculptor,  Bernini,  who  had  not  seen  Cpiarles, 
to  model  a  bust. 

*^*  Tlie  fact  that  George  III.  bought  a  portrait  of  Charles  I., 
purporting  to  be  the  original  which  had  been  sent  to  Bernini,  is 
not  proof  that  Van  Dyck  painted  but  one  ;  and  it  is  highly  proba- 
ble that  so  important  a  picture  would  be  repeated.  It  is  known 
that  Charles  sent  his  portrait  to  the  Court  of  Spain,  where  it  was 
ridiculed ;  and  that  picture  has  never  been  found,  or  at  least  recog- 
nized. 

90.  Vision  of  St  Louis. 

The  sainted  king  starts  from  a  canopied  couch  to  gaze 
upon  the  apparition  of  Pope  Gregory  IV.,  who  appears 
before  him,  cloud-borne  and  surrounded  by  angels.  In  the 
back  ground  is  a  sentinel.  This  httle  picture  is  noble  in 
style  and  harmonious  in  color.  The  action  of  the  figures  is 
remarkably  free  and  vigorous. 

*5^*  Tlie  composition  is  known  to  be  Vandyke's,  and  if  he  ever 
painted  a  small  picture  this  is  it,  as  it  is  impossible  to  attribute  it 
to  any  other  known  master.     The  proprietor  has  never  seen  an 


FLEMISH   AND   DUTCH   SCHOOLS.  57 

authenticated  miniature  picture  by  Vandyke,  but  has  been  rehably 
assured  that  they  exist. 

DOUW. 

Gerard  Dor \v  was  born  at  Leyden,  in  1613,  and  learned  the  rudiments  of  his 
art  from  a  glass  painter,  named  Kowknhoorn  ;  but  his  master  was  Rembrandt, 
with  whom  he  studied  three  years.  His  aim  was  to  unite  the  powerful  tones  and 
strongly  opposed  light  and  shade  of  Eembrandt,  to  the  most  delicate  handling 
and  highest  finish.  He  first  painted  portraits,  but  abandoned  this  department  of 
the  art  for  fancy  subjects.    He  is  unequalled  in  his  style.    Pie  died  in  1G74. 

91.  The  Artist  in  liis  Atelier. 

The  Artist,  in  a  robe  and  cap,  sits  before  his  easel,  in  a 
room  very  bare  of  the  usual  furniture  of  a  painter's  working 
room.  On  the  table  at  his  side  are  a  statue  of  Cupid  and  a 
violin.  In  the  left  corner  is  a  dog,  and  in  the  right,  a  heap 
of  arms,  books,  and  household  utensils,  touched  with  the  ut- 
most dehcacy  of  the  pencil ;  the  light  fairly  sparkles  on 
them. 

*^*  This  is  a  veritable  specimen  of  the  Master,  although  a  large 
portion  of  the  left  side  of  the  picture  has  been  much  injured.  The 
right  side  is  in  perfect  preservation. 

EECKHOUT. 

Gerbrandt  van  dkn  Ekckhout  was  born  in  Amsterdam,  in  1621,  and  became 
the  pupil  of  Rembrandt.  His  pictures  are  chiefly  remarkable  for  their  harmony 
of  color.    He  died  in  1674. 

92.  The  Continence  of  Scipio. 

This  picture  tells,  in  a  Dutcli  way,  the  well-known  story 
of  SciPio's  continence  and  generosity.  The  victorious  and 
self-denying  general  stands  upon  a  stone  platform,  surround- 
ed by  his  officers  and  attendants.  At  the  foot  of  the  steps 
leading  to  the  platform,  kneel  the  lovers,  surrounded  by  their 
friends ;  and  in  the  back  ground  are  other  less  fortunate  cap- 


58  BRYAN   aALLERY. 

tives,  and  the  victorious  army.  A  stronghold  forms  the 
back  ground  of  the  composition.  The  anachronism  of  the 
introduction  of  Dutch  faces  and  the  old  Dutch  costume  in 
the  treatment  of  this  tale  of  classic  Rome,  strikes  the  eye  lu- 
dicrously enough,  but  cannot  blind  it  to  the  character  and 
expression  of  the  figures,  and  the  rich  and  harmonious  color 
of  the  picture. 

*^*  This  is  the  most  celebrated  of  the  Master's  compositions,  and 
is  cited  by  Descamps  as  his  chef  d'ceuvre.  His  pictures  having 
been  frequently  clianged  into  Rembrandts  by  picture  dealers,  this 
specimen  is  the  finest  and  purest  whicli  the  proprietor  has  met 
with. 

VAN  EYCK. 

Jan  Van  Eyck,  called  John  of  Bruges,  was  born  at  Maeseyk,  in  1370,  according 
to  generally  received  authority ;  but  there  exists  some  doubt  as  to  the  date  of  his 
birth,  as  well  as  that  of  , his  brother,  Hubert,  with  whom  he  worked.  The 
brothers  have  long  had  the  reputation  of  being  the  first  inventors  of  painting  in 
oil ;  and  it  at  least  is  certain  that  they  discovered  the  art  themselves,  and  were 
among  the  very  first  to  practice  it  successfully.  The  works  of  the  Van  Eycks  are 
wonderful  exhibitions  of  elaborj^tion  and  color,  and  are  of  the  highest  historical 
importance.  Jan  Van  Eyck  died,  according  to  diflferent  accounts,  in  1440,  or 
1441. 

93.  Crucifixion. 

The  cross  upon  which  the  dead  Christ  is  suspended 
occupies  the  middle  of  the  composition.  On  the  left,  St. 
John  sustains  the  fainting  Virgin,  behind  whom  kneels  the 
churchman  for  whom  the  picture  was  painted.  His  name, 
Fr{ater)  Aurelius  de  Emael^  is  written  across  his  figure. 
Behind  him  is  a  weeping  female  figure ;  on  the  left  is  a 
group  of  dignitaries  and  soldiers.  A  landscape,  in  which  the 
towers  of  a  distant  city  appear,  closes  the  scene.  Underneath 
the  left  arm  of  the  cross  appears  the  legend,  Vere  Filius  Dei 
erat  iste,  which  ceased  to  be  used  after  the  time  when  the 


FLEMISH    AND   DUTCH   SCHOOLS.  59 

custom  of  painting  in  oil  commenced.  The  forms  in  the 
Christ  are  somewhat  meagre,  but  the  anatomy  is  remarkably 
correct  and  particular.  The  expression  in  the  faces  of  the 
several  figures  is  marked,  but  lacks  nobility  ;  and  the  features, 
though  carefully  drawn,  are  somewhat  rigid.  The  counten- 
ance of  the  principal  figure  on  the  left  is,  however,  an  excep- 
tion to  these  strictures.  Modern  art  rarely  shows  us  a  finer 
old  head  than  this. 

*^*  Tlie  picture  is  slightly  but  admirably  restored  in  the  left 
arm  of  the  cross,  and  a  portion  of  the  legend.  It  is  of  unquestion- 
able authenticity,  and  the  extremest  rarity. 

FOUQUIERES. 

The  Chevalier  Jacqcks  Focquieres  was  bora  at  Anvers,  in  1600,  and  was  the 
pupil  of  De  Momper,  of  Breughel  (called  Velvet  Breughel),  and  of  Rubens. 
His  talent  was  so  great,  that  he  was  often  permitted  to  paint  the  landscape  back- 
grounds of  the  works  of  his  last  and  greatest  master.  His  touch  is  free,  and  his 
color  clear,  though  too  much  pervaded  with  green  tints.  He  died  at  Paris,  in 
1689. 

94.  Landscape,  with  Figures. 

Two  huntsmen,  with  a  hoi-se  and  hounds,  pass  along  a 
road  which  leads  over  a  rustic  bridge.  In  the  middle 
distance  is  a  clump  of  trees. 

*^*  This  picture  was  attributed  to  Kubexs,  until  one  which 
proved  the  authorship  ineontestably  was  shown  to  the  proprietor, 
who  will  be,  as  he  always  has  been,  grateful  for  any  real  informa- 
tion respecting  the  authenticity  of  any  or  all  of  his  pictures :  his 
serious  object  being  to  make  his  gallery  an  authority. 

GLAUBER. 

Jan  Glauber,  called  Polidore  was  bom  at  Utrecht,  in  1646.  His  master  wag 
Berghem  ;  and  after  proflUing  by  his  inestimable  instructions,  he  studied  in 
France  and  Italy,  in  which  latter  country  he  received  his  honorary  surname.  He 
is  eminent  among  the  landscape  painters  of  his  country,  but  the  tone  of  his  com- 
positions is  decidedly  Italian.  He  was  an  intimate  of  Gerard  de  Lairessk  who 
painted  the  figures  in  a  large  proportion  of  his  landscapes.    He  died  in  1726. 


60"  BRYAN  GALLERY. 

95.  Landscape. 

From  a  broken  and  wooded  foreground  the  eye  is  led  to  a 
rugged  and  hilly  middle  distance.  The  view  is  bounded  by 
mountains.  In  the  foreground  are  three  figures ;  a  female 
reclining,  another  playing  the  tambourine,  and  a  man 
bearing  a  vase.  In  the  first  distance,  is  a  figure  following  a 
goat.  The  color  is  rich  and  harmonious,  and  the  light 
breaks  beautifully  upon  the  rugged  hills  upon  the  left.  The 
figures  are  by  Gerard  de  Lairesse. 

*^*  It  is  unrivalled  by  anj^  production  of  the  Master  known  to 
the  proprietor,  and  is  worthy  of  Claude,  to  whom  it  has  been 
attributed  by  some  of  the  most  distinguished  experts  of  Europe. 

GRIFF. 

AnthonyJGriff  painted  wooded  landscapes,  hounds,  and  game,  with  such 
truth  and  spirit,  that  it  is  much  to  be  regretted  that  we  linow  nothing  of  him 
beyond  his  works,  except  that  they  were  produced  about  A.  D.  1650.  Some  of 
his  pictures,  in  design  and  treatment  of  light  and  shadow,  rival  those  of  Snyders. 

96.  Dogs  and  Game. 

A  spaniel  looks  disdainfully  upon  a  cur  who  approaches 
some  game  hanging  in  the  open  air,  near  a  large  building. 

*^*  Tliis  little  picture  is  a  fair  specimen  of  the  Master. 
HEMLING. 

Of  Jan  Hemling,  called  sometimes  He  mm  k  link,  little  was  known  till  within 
the  last  few  years.  He  was  born  about  the  year  1440,  as  his  works  bear  date  from 
1462  to  1485.  He  shares  with  the  Van  Eycks  the  dawning  glories  of  the  Flemish 
School  of  painting  ;  and  in  the  power  and  richness  of  his  color,  the  delicacy  of 
his  pencil,  and  his  elaborate  finish,  surpasses  their  greatest  efforts.  It  is  not 
known  when  or  where  he  died;  but  hs  was  living  in  1499.  His  works  are  held  in 
such  esteem,  that  Dr.  Waagen,  perhaps  the  first  critic  in  Europe,  and  Director 
of  the  Royal  Gallery  at  Berlin,  in  speaking  of  a  small  but  exquisite  specimen  of 
his  art,  says:  "Unfortunately  the  demand  of  £3,000  sterling  for  this  jewel  is  so 
extravagant,  that  no  offer  has  yet  been  made  for  it." 

97.  The  Marriage  of  St.  Catherine. 

In  the  centre  of  the  picture,  the  infant  Christ,  standing 


FLEMISH   Al^D   DUTCH   SCHOOLS.  61 

upon  the  Virgin's  knee,  turns  to  Saint  Catherine,  who 
receives  from  him  the  ring  of  espousal.  Upon  her  lap  rests 
a  richly  illuminated  missal.  A  similar  book  is  in  the  hands 
of  St.  Anne,  who  sits  upon  the  left  of  the  Virgin.  Between 
these  figures  is  the  lamb  of  the  former ;  and  behind  the  group 
is  an  elaborately  painted  landscape  with  figures,  which  is  in 
very  fair  perspective,  considering  the  date  of  the  picture. 
Above  the  Virgin  two  angels  hover  with  a  crown.  The  feet 
of  the  group  of  Saints  rest  upon  a  richly  tesselated  pavement. 
The  Virgin  wears  a  dark-green  robe,  lined  with  fur,  over 
which  falls  a  scarlet  mantle,  the  color  of  which  is  indescrib- 
ably brilliant,  rich,  and  pure..  The  robe  of  St.  Catherine 
is  of  a  dark  crimson,  trimmed  with  ermine,  and  elaborately 
worked  in  arabesque  and  gold.  She  also  wears  a  richly 
jewelled  coronet.  St.  Anne  is  dressed  in  a  green  robe 
which  has  sleeves,  apparently  of  changeable  silk,  the  colors 
being  Hlac  and  red.  Upon  her  head  is  folded  a  light,  thin 
kerchief,  the  transparency  of  which  is  wonderfully  expressed. 
Although  formal  in  composition,  and  somewhat  conventional 
in  expression,  this  picture  is  full  of  merit  of  a  high  order. 
The  heads  show  an  advancement  in  the  art  of  modelling,  quite 
remarkable  for  the  time ;  the  drapery  falh  in  folds  of  sim- 
plicity and  grace  far  beyond  the  attainment  of  the  most  dis- 
tinguished of  Hemling's  successors ;  and  the  little  chiaroscuro 
distributed  through  the  picture  is  of  magical  clearness  and 
purity.  The  elaborateness  of  the  artist's  manner  may  be  best 
appreciated  by  a  close  examination  of  the  chevelure  of  the 
figures,  "  each  particular  hair  "  of  which  seems  to  have  been 
traced  by  his  exact  and  laborious  pencil.  It  is  worthy  of 
remark,  that  the  expression  of  these  heads  is  altogether 
wanting  in  that  air  of  wrapt  serenity  which  is  the  characteristic 


t)i5  BRYAN   GALLERY. 

of  the  contemporary  Italian  Masters,  and  even  of  those  of  yet 
ruder  days. 

*^*  The  picture  is  in  remarkably  fine  condition,  and  aside  from 
its  intrinsic  merit,  is  important  in  the  history  of  Art.  When  pur- 
chased by  the  present  proprietor,  its  beauties  Avere  hidden  beneath 
the  accumuhited  blackness  of  ages  ;  otherwise  a  private  American 
fortune  would  have  failed  to  obtain  it,  as  the  Director  of  the 
IS'ational  Academy  of  Brussels,  partly  sus2:>ecting  its  value,  was  a 
competitor  for  its  possession.  It  is  immeasurably  superior  to  any 
other  specimen  of  the  Master  which  the  proprietor  met  with  in 
Europe.  It  Avas  purchased  at  the  sale  of  the  well  known  Collec- 
tion Quedeville. 

98.  Tlie  Conception.     (Copy). 

Joseph,  who  was  "  minded  to  put  away  Mary  his  wife," 
haying  been  warned  by  an  angel,  kneels  in  adoration  before 
her.  Two  cherubs  hover  over  the  head  of  the  Virgin. 
The  scene  takes  place  in  an  open  gallery  with  a  tesselated 
floor,  from  which  we  look  out  upon  a  meagre  and  formal 
landscape,  in  which,  after  the  manner  of  the  artist's  time,  he 
has  represented  the  interview  between  the  angel  and  Joseph, 
the  result  of  which  is  the  subject  of  the  composition.  Behind 
Mary,  is  a  very  remarkable  specimen  of  Arras  hanging, 
Avorked  in  arabesque  of  black  upon  a  gold  ground. 

*^*  This  picture,  as  well  as  the  preceding,  is  from  the  Collection 
Quedeville,  and  was  supposed,  for  a  long  time,  by  some,  to  be  an 
original;  but  a  comparison  of  it  with  the  "Marriage  of  St.  Cathe- 
•rine,"  just  noticed,  will  soon  convince  even  the  least  practised  eye 
of  the  error  of  this  belief. 

HEYDE. 

Jan  van  der  Heydk,  often  called  Van  dkr  Hkyden,  was  born  at  Gorcum,  in 
1637.  He  is  one  of  the  most  minute  and  elaborate,  and  yet  one  of  the  most 
spirited,  of  landscape  painters.  His  works  are  marvels  of  finish,  color,  perspective 
and  chiaroscuro.   He  received  the  instructions  of  no  eminent  painter ;  but  he  was 


FLEMISH   AND   DUTCH    SCHOOLS.  63 

intimate  with  Van  der  Veldb  and  Lingblbach,  one  of  whom  generally  painted 
the  figures  in  his  landscapes.    He  died  in  1712. 

99.  View  of  an  old  city  on  the  Rliine. 

The  river  flows  between  hills,  and  divides  the  town,  the  two 
portions  of  which  are  connected  by  a  stone  bridge  of  five 
arches,  having,  after  the  ancient  style,  a  tower  at  each  end. 
Boats  are  passing  on  the  river.  In  the  foreground  on  the 
left  stands  a  small  tower.  The  accuracy  of  detail  in  this 
picture  is  such,  that  not  only  do  we  find  the  figures  in  the 
boats,  and  even  on  the  bridge,  carefully  made  out,  but  the 
stones  and  bricks,  and  the  sashes  of  the  windows  in  the 
buildings,  far  and  near,  are  indicated  with  scrupulous  nicety. 
The  eflfect  of  the  work  is  that  of  a  landscape  seen  in  a  camera- 
obscura,  or  a  Claude  glass.  The  style  is  more  worthy  of 
remark  than  approval  or  imitation. 

HOBBEMA. 

MiNDERT  HoBBEMA  was  bom  at  Coevorden  ;  it  is  not  known  exactly  when.  He 
was  a  pupil  of  Rlysdael,  whom  he  rivals,  and  sometimes  surpasses  in  the  senti- 
ment, the  finish,  and  the  rich  color  of  his  landscapes,  which  are  not  less  remark- 
able for  the  sentiment  which  breathes  through  them,  than  for  their  execution. 
His  works  are  often  enriched  with  figures  by  Tan  de  Velde.  The  time  of  his 
death  is  unknown. 

100.  Landscape. 

An  old  mill  with  a  wood  at  its  back,  and  a  figure  fishing 
in  the  water,  which  occupies  the  front  of  the  picture,  are  the 
simple  elements  of  its  great  beauty.  Hobbema  was  almost 
forgotten  until  a  comparatively  recent  period,  on  account  of 
the  tricks  of  picture  dealers,  who  effaced  his  signature,  and 
by  altering  his  compositions  slightly,  passed  them  off  for 
those  of  RuYSDAEL.     "We  owe  to  Mr.  Le  Brun,  a  painter  and 


64:  BRYAN   GALLERY. 

an  honest  dealer,  the  pleasure  of  admmng  this  charming 
artist's  works  for  their  own  merits,  and  under  his  name. 

*^^  This  is  not  a  fine  specimen  of  the  Master,  though  superior 
to  most  of  the  pictures  exhibited  as  his.  The  cool,  gray  tints,  and 
the  peculiar  quiet  of  the  composition,  mark  it  unmistakeably  as 
his. 

DE  HOOGHE. 

Peter  de  Hooghe  was  born  in  1643.  We  know  nothing  of  his  studies  or  his 
life.  His  subjects  were  interiors  with  figures,  usually  with  a  bright  light  shining 
through  a  window  and  brilliantly  illuminating  the  room.  Some  of  his  pictures 
are  almost  priceless.  Sir  David  Wilkie  never  saw  one  without  making  a  note 
of  it  in  his  journal,  as  an  event  of  importance. 

101.  A  Lace  Worker. 

A  young  woman  sits  by  an  open  window,  with  her  hands 
resting  upon  the  cushion  on  which  is  her  work.  The  light 
falls  in  a  broad  mass  upon  one  side  of  her  face  and  figure, 
while  the  other  is  in  the  half  shadow  of  reflected  light.  This 
little  sketch,  so  unobtrusive  in  subject  and  treatment,  will 
impress  the  close  observer  with  a  sense  of  quiet  power  and 
thorough  knowledge, — knowledge  which  is  content  to  know 
without  seeming  learned. 

HUYSMANS  DE  MALINES. 

Cornelius  Huysmans  was  born  at  Amsterdam,  in  1648,  and  became  the  pupil 
ofDE  Witt  and  Van  Artois.  His  landscapes  merit  the  high  estimation  in 
which  they  are  held,  by  their  noble  style,  their  warmth  and  strength  of  color,  the 
spirited  figures  with  which  he  enlivens  them,  and  his  remarkably  truthful  manner 
of  expressing  the  traits  of  mountainous  scenery,  in  which  he  had  a  peculiar  talent- 
He  died  ai  Malines,  in  1727.    The  spirit  of  his  works  is  altogether  Italian. 

102.  A  Landscape. 

The  principal  portion  of  the  picture  is  occupied  by  a 
clump  of  trees  overhanging  a  rugged  road,  the  sides  of  which 
form  the   foreground.     Along  this,  peasants  and  cattle  are 


FLEMISH   AND   DUTCH   SCHOOLS.  65 

passing.  On  the  left,  we  look  out  upon  not  veiy  distant 
hills.  The  tone  of  this  picture  is  deep,  and  the  shadow  which 
covers  most  of  it  is  beautifully  clear.  The  texture  of  the  bro- 
ken ground,  and  the  clear  tints  on  cloud  and  sky,  are  re- 
markable instances  of  mastery  of  the  detail  of  landscape 
painting. 

*#*  This  is  the  finest  easel  picture  of  this  master  known  to  the 
proprietor.  One  inferior  to  it  in  every  respect  was  placed  by  the 
side  of  a  Hobbema  at  the  last  exhibition  of  the  British  Institution, 
and  sustained  itself.  The  great  French  colorist,  Desca^ips,  has  at- 
tentively studied  the  works  of  this  master  in  which  culminate  the 
motives  of  the  landscape  school  of  Eubens. 

DU  JARDIN. 

Karl  Du  Jardin,  called  in  Italy  Bakbe  de  Bouc,  was  born  at  Amsterdam,  in 
1640.  He  was  the  most  gifted  of  the  pupils  of  Bkrohem.  His  works  are  dis- 
tinguished by  the  simplicity  of  the  materials  with  which  their  remarkable  eflFects 
are  produced.  Exquisite  purity  of  taste,  and  a  profound  knowledge  of  nature, 
are  manifested  by  everj'  production  of  his  pencil.  His  coloring  is  chaste,  and  the 
tints  have  remained  to  us  in  remarkable  freshness.     He  died  at  Venice,  in  1678. 

103.  Portrait. 

A  young  man  in  a  slashed  lead-colored  doublet,  with  a 
red  cloak.  His  hair  is  very  carelessly  disposed,  and  he  wears 
a  slight  moustache.  The  head  is  finely  modelled,  and  there 
is  a  look  of  life  in  the  face.  Upon  the  left  side,  a  fine  reflect- 
ed light  is  thrown. 

*jt*  Portraits  by  this  master  are  rare. 

104.  Landscape,  with  Figures. 

Near  a  ruined  castle,  sheep  and  goats  are  gi'ouped  around 
an  old  fountain,  from  which  one  of  the  goats  drinks.  Three 
peasants  are  near.  In  the  distance  is  a  misty  landscape. 
Close  observation  of  the  foreground,  and  the  sheep  and  goats 


66  BKTAN    GALLERY. 

will  discover  beauties  enough  to  justify  the  estimation  in 
which  the  master  is  held.  The  heads  of  the  sheep  are  paint- 
ed with  remarkable  fidelity  and  finish.  The  picture  is  in  the 
Italian  style  of  the  master. 

*jt*  The  signature  is  in  script,  K.  Du  Jardin  ;  an  unusual  one  for 
the  Master,  who  almost  always  signed  in  Roman  letters. 

LELY. 

Sir  Peter  Lely,  the  painter  of  the  Beauties  of  the  Court  of  Charles  II.  was 
born  at  Soest,  in  Westphalia,  in  1617,  of  a  family  named  Van  der  Faes.  His 
father  is  said  to  have  received  the  name  of  Lely  because  he  lived  in  a  house  the 
front  of  which  was  ornamented  with  a  lily.  He  was  the  pupil  of  Grkbber,  of 
Harlaem,  whose  instructions  became  useless  to  him  before  he  was  twenty  years 
old.  Upon  the  death  of  Van  Dyck  he  went  to  England,  where  he  first  painted 
landscapes.  He  soon  took  to  portrait  painting,  and  succeeded  to  the  popularity 
and  court  favor,  if  not  to  all  the  genius  of  his  great  predecessor.  His  color  is 
pure,  his  draperies  gracefully  disposed,  and  the  expression  of  his  heads  that  of 
high  breeding.  His  hands  have  an  affected  sameness,  in  spite  of  their  delicate 
forms ,  which  seems  to  indicate  that  they  were  painted  from  one  model.  He  died 
in  1704. 


105.  Portrait. 


A  lady  dressed  in  the  style  of  the  time  of  Charles  II.,  stands 
in  a  landscape;  her  head  is  relieved  against  a  projecting  rock, 
and  behind  her  is  a  shrub,  the  leaves  of  which  are  touched 
quite  in  the  style  of  Vandyke.  The  flesh  tints  are  clear  and 
true,  and  the  hair  is  painted  with  great  naturalness  and  free- 
dom. The  lady  was  not  a  beauty ;  but  the  unmistakeable 
touch  of  Lely  has  perpetuated  her  lineaments  and  made 
them  interesting. 

*^*  This  is  the  portrait  of  a  sister  to  the  Prince  whose  portrait, 
representing  him  holding  an  orange,  is  in  the  Louvre,  and  which 
was  long  attributed  to  Vandyke  ;  and  the  proprietor  takes  the  lib- 
erty of  declaring  both  portraits  to  be  painted  by  the  same  artist — 
Sir  Peter  Lely.     It  is  from  the  collection  of  Drolling. 


FLEMISH   AND   DUTCH    SCHOOLS.  67 

MAAS. 

Nicolas  Maas,  or  Maes,  born  at  Dortrecht,  in  1632,  was  a  pnpil  of  Rem- 
brandt. He  at  first  painted  history,  which  he  abandoned  for  portraiture,  in 
which  he  distinguished  himself  by  producing  strong  resemblances  in  clear  and 
vigorous  color.    He  died  in  1693, 

106.  Portrait. 

A  young  man  in  a  huge  peruke,  wearing  the  Roman  lorica 
with  its  straps,  over  which  red  drapery  is,  not  very  gracefully, 
cast.  The  face  does  not  afford  us  a  favorable  specimen  of  the 
painter's  color.  The  hand  is  freely  drawn,  but  the  arm  is 
somewhat  dwindled. 
I^IABUSE. 

Jan  de  Mabusk,  or  Mabeuoius,  whose  family  name  was  Gossaert,  was  bom 
at  Mabeuge,  in  1492,  1496,  or  1499,  according  to  various  authorities.  We  do  not 
know  that  he  had  any  other  master  than  nature  and  his  own  genius ;  but  he 
studied  in  Italy,  where  he  remained  some  time.  He  is  said  also  to  have  visited 
England,  and  to  have  left  there  portraits  of  some  of  the  distinguished  persons  of 
the  day.  He  was  the  first  to  introduce  the  treatment  of  the  naked  figure,  and  alle- 
gorical composition,  into  the  Flemish  School.  His  compositions  are  highly  mer- 
itorious, his  finish  exquisite ;  and  his  correctness  of  drawing  vies  with  that  of 
Albert  DcRKR.  After  a  dissolute  life  of  vicissitude,  he  died  at  Antwerp,  iu 
1532. 

107.  Virgin  and  Cliild,  with  Cherubs. 

The  Virgin,  robed  in  blue  and  with  a  white  head-dress,  sits 
beneath  an  elaborately  carved,  gothic  canopy,  having  the 
Holy  Child  upon  her  knee.  Around  them  cherubs  sing,  ac- 
companied by  others  upon  musical  instruments.  In  the 
distance,  on  the  right,  Joseph  is  seen.  This  picture  is  note- 
worthy for  the  clearness  of  the  flesh  tints,  the  rich  color,  and 
fine  disposition  of  the  Virgin's  drapery,  and,  especially  for 
the  elaborate  and  beautiful  design  of  the  canopy. 

108.  Virgin  and  Child. 

The   Virgin,  draped  in  blue  and  red,  holds  the  infant 
5 


68  BRYAN    GALLERY. 

CHRIST  on  her  left  arm.  He  has  an  apple  in  his  left  hand, 
and  lays  the  other  on  her  breast.  Other  fruit  and  a  knife  is 
on  a  led2:e  before  them.  From  the  window,  a  meagre  land- 
scape, with  buildings,  is  seen.  The  forms  of  this  picture  are 
truthful,  if  not  noble  ;  and  a  trait  of  serene  loveliness  is  dis- 
cernible in  the  face  of  the  Virgin.  The  flesh  tints  are  also 
pure;  but  the  shadows  are  black  and  unpleasing.  The  pic- 
ture, in  composition  and  expression,  shows  the  influence  of 
the  painter's  studies  in  Italy.  , 

MATSYS. 

QuiNTis  Matsys,  Metsys,  or  Mkssis,  called  the  Biacksmith  of  Antwerp,  was 
born  in  that  city,  in  1450.  The  story  of  his  leaving  the  anvil  for  the  easel,  for  the 
love  of  a  painter's  daughter,  is  well  known.  It  is  not  recorded  who  was  his 
instructor.  He  painted  portrait,  history,  and  s^nre  pictures.  His  style  is  hard, 
but  yet  full  of  expression.    He  died  at  his  native  city,  in  1529. 

109.  A  Triptique 

In  the  centre  compartment  is  Christ,  crowned  with 
thorns,  and  holding  up  his  bleeding  hands.  In  the  right  leaf, 
an  angel,  richly  draped,  holds  the  cross  with  the  nails  and 
the  spear ;  and  in  the  left,  another  angel  similarly  robed, 
holds  the  pillar  with  the  cord  and  the  scourge.  The  whole 
of  this  work  is  in  the  most  elaborate  style  of  the  master  ; 
every  detail  of  person  or  costume  is  made  out  with  the  most 
laborious  exactness.  The  flesh  tints  are  of  a  cold,  unpleasant 
reddish  hue,  and  the  shadows  abrupt,  and  by  no  means  clear. 
The  expression  of  the  head  of  Christ  is  one  of  the  extremest 
physical  suflering. 

On  the  outer  side  of  the  leaves  are  two  figures  of  saints, 
painted  in  simple  light  and  shade.  On  the  left  leaf,  with  a 
deer  at  his  feet,  and  a  horn  in  his  hand,  is  St.  Hubert,  wear- 


FLEMISH    AND   DUTCH    SCHOOLS.  69 

ing  the  mitre  and  holding  a  crosier ;  on  the  right,  St.  Cath- 
erine, a  crowned  female  figure,  holding  a  sword  in  her  right 
hand,  and  having  a  broken  wheel  at  her  feet.  Between 
"  them,  divided  by  the  dooi-s,  is  an  emblazoned  shield  ;  doubt- 
less the  arms  of  the  pei-son  in  Avhose  hunting  chapel  the  trip- 
tique  hung.  The  drapery  of  these  figures  is  quite  grandly 
disposed.  They  seem  to  the  author  to  be  of  later  date  than 
the  painting  within. 

*^*  Tlie  picture  is  in  absolutely  perfect  preservation,  and  may 
be  regarded  as  an  unexceptionable  specimen  of  the  master. 

MOLENAER. 

Jan  Molbnaer  has  left  little  record  of  himself,  save  his  signature  upon  his  pic- 
tures of  rustic  interiors,  which  awaken  admiration  for  their  happy  choice  of 
subject,  and  their  fine  color.    He  flourished  about  1650. 

110.  Boors  regaling. 

Fom-  boors  drink  and  smoke  round  a  barrel-head.  It  is 
homely  enough  in  subject ;  but  the  grouping  is  easy,  and  the 
color  harmonious.     It  gives  a  fair  idea  of  the  master. 

MOLNAER. 

Nicolas  Molnkar,  a  meritorious  painter  of  rustic  merry-makings  in  tho  open 
air,  and  of  winter  scenes,  was  bom  at  Amsterdam,  in  1629.  His  landscapes, 
covered  with  snow  and  ice,  are  of  a  marvellous  truthfulness,  and  are  enlivened 
with  spirited  figures.    He  died  at  Amsterdam,  in  1684. 

111.  Winter  Scene. 

The  view  is  outside  the  walls  of  Harlaem  ;  and  a  dreary 
view  it  is.  Not  even  the  spirited  figures  which  are  skillfully 
scattered  through  it,  can  lend  animation  to  the  landscape. 
The  painter  has,  to  complete  the  dreanness,  put  a  promise  of 
a  driving  snow-storm  in  the  clouds  and  sky,  which  are  paint- 
ed with  great  knowledge  and  skill. 


70  BRYAN    GALLERY. 

MOUCHERON. 

Frkderic  Moucheron,  born  at  Embden,  in  1633,  was  a  worthy  pupil  of  Johk 
AssKLYN.  He  visited  Paris,  but  passed  the  greater  part  of  his  life  at  Amster- 
dam. His  landscapes  are  admired  for  the  fine  forms  of  the  trees,  the  foliage  of 
which  is  of  remarkable  lightness.  His  distances  are  skilfully  arranged,  and  his 
skies  luminous.  His  best  pictures  have  figures  by  Yan  dk  Velde  or  Lingel- 
BAcu.    He  died  at  Amsterdam,  in  168G. 

112.  Landscape. 

A  sluggish  stream  flows  through  the  flat,  alluvial  fields 
which  lie  around  the  roots  of  rugged  hills.  In  the  first 
distance  is  a  high  precipitous  rock,  crowned  by  a  castle. 
Tlie  sky  is  filled  with  light,  vapory  clouds.  In  composition, 
this  landscape  is  very  skilful.  The  foreground  is  the  top  of 
a  hill  in  deep  shadow ;  and  the  eye,  being  attracted  by  figures, 
looks  over  the  sharply  defined  outline,  upon  the  plains  beyond 
and  below,  which  thus  gain  distance  both  in  remoteness  and 
descent.  The  clouds  are  lightly  touched,  and  the  varying 
hue  of  the  sky  is  both  truthful  and  beautiful.  It  is  worth  while 
to  observe  and  contrast  this  landscape  with  those  of  Both. 

VAN  NECK. 

Jan  Van  Neck,  born  at  Naarden,  in  1C36,  and  a  pupil  of  J.  de  Barker 
painted  history  in  the  style  of  his  master ;  his  compositions  are  pleasing,  his  color 
truthful,  and  his  drawing  correct.    He  died  at  Amsterdam,  in  1714. 

113.  Portrait. 

A  youug  man,  with  dark,  flowing  hair,  and  draped  in  sad- 
colored  robes,  leans  against  a  tablet,  holding  in  his  right 
hand  a  watch.  Through  an  unglazed  window  we  look  out 
upon  a  sombre  landscape.  The  face  is  finely  modelled,  the 
head  very  correctly  drawn,  and  the  position  unites  firmness 
and  grace.  The  picture  is  very  characteristic  of  the  painter, 
^nd  by  its  large  style  vindicates  his  claim  to  a  higher  relative 


FLEMISH   AND   DUTCH   SCHOOLS.  71 

position  than  that  usually  awarded  to  him  :  higher,  for 
instance,  than  that  due  to  Netscher,  as  will  be  seen  by  a 
comparison  of  this  portrait  with  No.  116.  Meritorious  as  that 
is,  it  lacks  the  strength  of  tliis. 

*^*  This  picture  is  from  tlie  gallery  of  Cardinal  Fesch,  at  the 
sale  of  which  it  was  purchased, — but  not  by  the  present  proprietor, 
— as  by  Xetscher,  although  the  true  signature  was  covered  by  the 
false  one  of  Netscher. 

VAN  DER  NEER. 

Aart,  or  Arnold  van  der  Neer,  was  born  at  Amsterdam  in  1619.  We 
do  not  know  from  whom  he  had  learned  the  j^rinciples  of  his  art.  He  is  em  in 
ent  among  the  first  landscape  painters  of  his  school.  His  moonlight,  twilight,  and 
firelit  scenes  are  marvels  of  art.  Such  clear  half-light  has  rarely  been  repre" 
sented.  But  his  pictures  are  so  interesting  in  their  composition,  and  so  highly 
finished,  that  their  value  does  not  depend  upon  their  treatment  of  peculiar  light. 
They  generally  represent  a  fiat  country  by  river  sides.    He  died  in  1683, 

114.  Landscape  by  Moonlight. 

By  dim  twilight,  a  heavily  undulating  landscape  is  seen. 
The  sky  is  mottled  with  clouds ;  and  the  moon  rises  over 
a  hill  in  the  foreground,  upon  which  is  a  windmill.  The 
heavy,  confused  appearance  whicb  the  w^atery  clouds  give 
the  sky,  and  the  struggling  of  the  moon-beams  through 
them,  will  be  recognized  as  eminently  truthful,  by  close  ob- 
servers of  nature. 
NEEFS 

Peter  Neefs  was  born  at  Antwerp,  in  1570,  and  was  a  scholar  of  Henry 
Steenwyck.  His  architectural  pieces  are  among  the  best  in  that  department  of 
art.  His  truthful  and  laborious  pencil  represents  with  unswerving  fidelity,  the 
minute  details  of  ornament  of  the  florid  gothic  school,  and  his  effects  of  con- 
trasted light  and  shadow  are  equally  faithful  and  pleasing.  The  figures  in  his 
picture?  are  often  by  Franck.    He  died  at  his  native  place,  in  1651. 

115.  The  Interior  of  a  Cathedral. 

We  look  up  the  nave  of  a  Gothic  Cathedral.     In  the 
side  aisles,  worshippers  at  the  different  altars  are  seen.    In  the 


72  BRYAN    GALLERY. 

foreground  is  a  group  of  persons  about  to  leave  the  building. 
The  rays  of  torches  and  candles  blend  mysteriously  with  the 
twilight  of  early  evening. 

*^*  The  figures  are  by  Franck,  and  the  picture  is  signed  by  both 
masters. 
NETSCIIER. 

Caspar  Netscher,  was  bora,  according  to  some  authorities,  at  Prague,  ac- 
cording to  otliers,  at  Heidelberg,  in  1636.  He  became  the  pupil  of  Tkrburg,  and 
after  visiting  France,  settled  himself  at  the  Hague.  He  painted  in  the  style  of 
MiERis  and  Gerard  Douw  ;  next  to  whom  his  exquisitely  delicate  touch  and 
richness  of  color  must  rank  him.    He  died  at  the  Hague,  in  1684. 

116.  Portrait  of  Madame  de  Montespan. 

The  Duchess,  richly  dressed,  sits  near  a  small  table,  play- 
ing upon  the  harp.  Her  costume  displays  to  great  advan- 
tage the  ripe  loveliness  of  her  person.  At  her  feet,  wearing 
a  slight,  blue  drapery,  sits  her  son,  the  Due  De  Maine.  The 
color  of  this  picture  is  rich  and  mellow,  the  features  and  ex- 
tremities are  touched  with  exquisite  delicacy,  and  the  textures 
are  expressed  with  remarkable  fidelity.  The  artist  has  in- 
tended to  represent  the  lady  as  St.  Cecilia  ;  but  there  wa& 
as  Httle  of  the  saint  in  her  as  of  the  Raphael  in  him  ;  and 
so  as  we  look,  we  think  smiHngly  of  the  pure,  wrapt  maiden 
in  the  Gallery  of  Bologna,  who  hushes  her  own  strains  while 
her  soul  is  borne  heavenward  by  angelic  harmony.  The 
painter's  design,  however,  accounts  for  the  emblematic  anvil, 
hammers,  and  balance,  which  are  allusions  to  the  discovery  of 
Pythagoras  ;  and  also  for  her  sitting  upon  a  celestial  globe, 
typical  of  the  music  of  the  spheres. 

VAN  COST. 

Jacob  Van  Oost,  was  born  of  a  distinguished  family  of  Bruges,  in  1600. 
Nothing  is  known  of  his  early  studies.  He  visited  Italy,  where  he  devoted  him- 
self to  tlie  study  of  Annibalk  Carracci.  His  style  is  somewhat  Italian  in  char- 
acter, and  his  treatment  of  his  subjects  free  and  spirited.  He  died  at  Bruges,  in 
1713. 


FLEMISH   AND   DUTCH   SCHOOLS.  T3 

117.  A  Carnival  Scene. 

To  a  party  of  revellers,  round  a  table,  otliei*s  approach 
through  an  open  door.  The  group  is  spirited,  and  the  light 
upon  it  well  distributed.  This  picture  contains  strong  internal 
evidence  in  favor  of  the  belief  that  the  painter  was  a  pupil  of 
Rubens. 
VAN  OCHTERYELDT 

Jan  Van  Ochterveldt,  or  Uchterveldt,  was  bom  about  1655.  He  is  sup- 
posed by  some  to  have  been  a  scholar  of  Terburg,  by  others  to  have  studied 
with  Metzu.  He  painted  more  in  the  manner  of  the  latter  than  the  former. 
He  painted  interiors,  generally  in  cool,  gray  tones.  He  is  remarkable  for  the 
high  finish  of  his  silk  and  satin  draperies. 

lis.  A  Lady  playing  witli  a  Dog. 

A  lady,  richly  dressed,  plays  with  the  ears  of  a , spaniel 
upon  her  lap.  A  servant  maid  brings  a  ewer  and  basin  to 
wash  him.  On  the  right,  is  a  table  covered  with  a  rich 
cloth,  on  which  lies  a  ^nolin.  This  picture  is  worthy  of  admi- 
ration, in  spite  of  its  pervading  gray  hue,  which  even  invades 
the  flesh  tints.  The  dog  is  very  fine  in  attitude  and  expres- 
sion, and  the  texture  of  his  coat  is  well  reproduced.  The 
satin  petticoat  of  the  lady,  is  well  enough  imitated  for  a  silk 
importer  to  estimate  its  cost  "  per  yard." 

OSTADE. 

Adrian  Van  Ostade,  was  born  at  Lubeck,  in  1610,  but  came  early  in  life  to 
Harlaem,  to  study  under  Frank  Hals,  and  remained  in  that  hive  of  painters 
during  the  most  of  his  life.  He  was  a  fellow-student  of  Brauer.  His  interiors 
with  drinking  boors  and  clownish  children,  are  almost  unrivalled  for  expression 
of  character,  richness  of  color,  and  fine  treatment  of  the  chiaroscuro.  He  died  in 
1685,  at  Amsterdam. 

119.  Portraits  of  tlie  Painter's  Wife  and  Child. 

The  mother,  whose  embrowned  face  is  shadowed  by  a 
white  head-dress,  holds  on  her  knee  an  infant  sweltering  in 


74  BKYAN    GALLEEY. 

woollen,  after  the  Dutch  fashion.  Pictures  of  greater  design 
than  this  there  are  bj  thousands,  but  there  is  not  one  in  ten 
thousand  ^Yhich  is  so  perfect  in  its  kind.  What  words  can 
express  the  naturalness  of  the  face  of  that  Httle  wheezy  child  ? 
The  flesh  tints  and  the  chiaroscuro  are  marvellous. 
*#*  From  the  collection  of  Cardinal  Fesch. 

SCHOOL  OF  OSTADE. 

119.  (A.)  A  Head. 

An  old  peasant  looks  smiling  over  his  shoulder.  He 
wears  a  shapeless  hat.  The  face  has  character,  and  is 
painted  with  a  spirited  pencil.  Many  a  picture  of  no  greater 
merit  is  confidently  bought  as  a  true  Ostade.  But  to  judge 
how  misplaced  such  confidence  is,  compare  the  color  and 
disposition  of  light  in  this  with  the  same  points  in  No.  119. 

OSTADE. 

Isaac  Van  Ostade  was  the  pupil  of  his  brother  Adrian,  and  was  bora  at 
Lubeck,  in  1613.  He  painted  in  the  style  of  his  brother,  but  added  some  skill  as 
a  landscapist  to  his  genre  painting.    He  died  at  Amsterdam,  in  1671. 

120.  A  Dutcli  School. 

At  the  head  of  a  school-room,  filled  with  grotesque  and 
clownish  scholars  of  almost  all  ages,  a  master,  seeming  not 
much  superior  to  his  pupils,  is  disciplining  one  of  them  with 
a  somewhat  odd  looking  instrument. 

POELEMBURG. 

Cornelius  Poelemburg  was  born  at  Utrecht,  in  1586.  He  studied  under 
Bloemart,  and  afterwards  went  to  Italy.  His  landscapes  charm  by  their  fidelity 
to  nature,  their  graceful  composition,  and  their  sweetness  of  tint.  He  died  at 
his  native  place,  in  1660, 

121.  Landscape,  with  Figures. 

A  view  of  a  gently  imdulating  country.     The  foreground 


FLEMISH   AND   DUTCH   SCHOOLS.  75 

is  occupied  by  five  lialf-draped  figures,  relieved  against  a 
wooded  knoll  on  the  left ;  and  in  the  middle  distance  are 
moss-grown  ruins.  The  effect  of  this  exquisite  httle  picture 
is  that  of  repose,  and  quiet  enjoyment  of  Italian  skies 
under  their  sweetest  influences.  The  tone  of  the  color 
throughout  is  seductively  tender  and  harmonious.  The  flesh 
tint,  the  roundness,  and  the  chiaroscuro  of  the  principal 
figure,  are  worthy  of  all  admiration. 

PORBUS. 

Francis  Porbus,  the  younger,  was  born  at  Antwerp,  in  1570.  He  was  the 
pupil  of  his  father.  He  painted  history ;  but  his  greatest  success  was  in  portraiture. 
His  heads  are  remarkable  for  individual  expression  and  delicate  finish  ;  and  the 
texture  of  his  stufifs  is  very  faithfully  expressed.  He  went  early  to  Paris,  where 
he  remained  until  his  death,  which  took  place  in  1622. 

122.  Portrait  of  Henri  IV. 

The  gallant  monarch  is  represented  at  full  length,  standing 
in  a  pillared  apartment  with  a  tesselated  floor.  His  left  hand 
rests  upon  his  hip,  his  right  upon  an  article  of  furnitui-e 
covered  with  a  rich,  red  and  gold  drapery.  He  is  dressed  en- 
tirely in  black,  and  wears  the  ine^^ table  ruff.  Behind  him  is  a 
heavy  green  curtain.  The  face  is  full  of  character,  is  boldly 
modelled,  and,  with  the  extremities  and  draperies,  is  very  highly 
finished. 

QUERFURT. 

Augustus  Querfurt  (of  Vienna)  was  born  at  Wolfenbattel,  in  1696.  His 
preceptors  were  his  father  and  Rugendas,  of  Augsbourg.  His  pictures  are 
battle  pieces,  in  the  style  of  Borgognonk,  or  Van  der  Meulen.  He  died  at 
Vienna,  in  1761. 

123.  Battle  Piece. 

The  whole  space  between  the  spectator  and  the  foot  of  a 
bluff",  in  the  middle  distance,  is  filled  with  combatants  on 


76  BRYAN   GALLERY. 

horseback  and  on  foot.  Though  the  action  of  the  figures  is 
spirited  enough,  the  color  is  feeble,  and  it  is  hardly  worthy 
of  the  gallery.  The  group  of  Hercules  and  the  lion,  standing 
upon  a  rude  pedestal  near  the  middle  of  the  picture,  will 
interest  the  observer,  and  remind  him  of  Rubens,  No.  132. 

REMBRANDT. 

Paul  Rembrandt  Gerretz,  was  called  Rembrandt  van  Ryn,  from  his  being 
the  son  of  a  miller  who  lived  on  the  banks  of  the  Rhine,  between  Leyderdorp 
and  Leyden,  where  the  great  master  of  chiaroscuro  was  born,  in  160G.  He  was 
successively  the  pupil  of  Peter  Lastman,  Jacob  van  Zwaanenberg,  and 
Jacob  Pinas.  Rembrandt  painted  history  ;  but  his  genius,  wonderful  as  was 
its  power,  was  not  suited  to  the  grand  style  of  composition.  His  forms  in  works 
of  this  kind  are  gross,  his  sentiment  grovelling  ;  but  still,  such  is  his  wondrous 
wealth  of  color,  and  the  magic  of  his  chiaroscuro,,  that  we  forget  his  unfitness  for 
the  task,  and  disregard  his  faults  in  admiration  of  his  marvellous  merits.  In 
portraiture  the  powers  of  his  pencil  found  their  most  suitable  exercise  ;  and  his 
representations  of  the  notabilities  of  his  day  are  among  the  greatest  works  of 
this  kind  which  the  world  possesses.    He  died  at  Amsterdam,  in  1G74. 


124.  Portrait. 


A  man,  past  middle  age,  with  close  cut  hair,  moustache 
and  chill-tuft,  in  a  black  doublet  and  ruff.  We  have  here 
a  specimen  of  this  great  master  of  chiaroscuro^  in  the  style 
of  his  famous  Lesson  in  Anatomy.  It  is  evidently  the 
portrait  of  a  person  of  some  consideration ;  and  we  do  not 
need  to  have  seen  him  to  be  sure  that  the  likeness  is  "  for- 
midable." Fearless  fidelity  is  the  ex2:)ression  of  every  line 
and  tint.  Here  is  no  idealization  of  the  subject,  so  called. 
The  heavy  features  of  the  Dutchman  are  duphcated  with  the 
inexorable  honesty  of  a  daguerreotype,  and  yet  the  work  is 
one  of  wonderful  art  in  the  harmony  of  outhne  and  tint,  and 
the  magic  of  chiaroscuro. 

*^*  This  portrait  is  signed  with  the  R.,  the  early  signature  of 
the  Master.  It  was  bought  at  the  sale  of  the  celebrated  miniature 
painter,  Saixt,  to  whom  it  belonged,  by  Mr.  Rcehn,  the  celebrated 


FLEMISH   AND   DUTCH    SCHOOLS.  77 

connoisseur,  and  was  sold  by  him  as  Rembrandt's,  to  Mr.  Jecker,  the 
same  who  left  his  important  collection  of  prints  to  the  Bibliotheque 
National,  at  Paris. 

125.  Tobit  and  tlie  Angel.     (A  cojDy.) 

The  sight  of  Tobit's  father  having  been  restored,  the  An- 
gel flies  heavenward.  In  the  foreground,  the  old  man  bows 
to  the  ground  in  thankfulness :  his  family  is  grouped  behind 
him.  The  light  comes  from  the  cloud  which  opens  to  re- 
ceive the  heavenly  visitant.  This  picture  is  a  successful  copy 
of  the  golden-toned  period  of  the  master.  The  original  in 
the  Louvre,  is  well  known,  and  famous. 

*^*  Copied  by  Sciiuermax. 

126.  Holy  Family.     (A  copy.) 

The  Virgin  is  suckling  the  infant  Christ.  Elizabeth 
watches  them  with  interest.  By  the  window  of  the  humble 
room,  through  which  a  flood  of  light  poui*s  in  upon  this  group. 
Joseph  is  at  work.  The  picture  is  similar  in  tone  to  the  pre- 
ceding. 

*^*  The  copy  is  also  by  Sciiuermax,  who  died  in  1847. 

127.  Portrait  of  an  Abbe. 

A  young  Abbe,  in  a  broad-leafed  hat,  a  black  doublet 
and  falling  ruff.  Half  the  face  is  in  deep  shadow.  This  pjicture, 
though  much  injured  by  injudicious  cleaning,  which  has 
swept  away  with  the  dust  all  the  half  tints,  is  still  an  inter- 
esting specimen  of  the  effects  of  Rembrandt's  school. 

RUBENS. 

Peter  Paul  Eubexs,  or  as  the  English  delight  to  call  him,  Sir  Peter  Paul 
Rubens,  who  stands  preeminent  in  the  Flemish  School  of  Painting,  was  born  at 


78  BRYAN   GALLERY. 

Cologne,  m  the  year  1577,  of  a  highly  respectable  family,  and  received  au  excel- 
lent education.  His  first  studies  in  painting  were  under  Adam  Van  Oort,  and 
afterward  under  Octavio  V5:nius  ;  but  having  surpassed  his  masters,  he  went  to 
Italy,  and  there  studied  the  works  of  the  Great  Painters  of  the  previous  age,  partic- 
ularly those  of  Titian,  Paolo  Veronese,  and  Tintoretto.  He  visited  England, 
and  painted  there  some  of  his  finest  works.  His  distinguishing  traits  are  strength 
and  transparent  richness  of  color,  combined  with  marvellous  freedom  of  pencil, 
united  to  great  learning,  both  as  to  the  resources  of  his  art  and  the  use  of  costume 
and  accessories ;  to  these  he  added  an  expression  of  energy,  spirit,  and  fervid 
life,  in  which  he  has  been  approached  by  no  other  painter. 

He  had  a  predilection  for  excessively  plump  women,  and  the  charge  of  gross- 
ness  is  made  with  ch  reason  against  his  female  figures.  But  though  they  have 
too  much  flesh,  it  is  of  such  freshness  and  purity  of  tint  as  has  never  been  put 
upon  canvas  by  another  painter,  save  perhaps  Titian  ;  and  there  is  such  a  look 
of  life  and  exuberant  health,  and  consequent  good  humor,  about  them,  that 
they  win  our  favor  in  spite  of  their  unsentimental  portliness  of  person.  The 
same  objection  does  not  apply,  in  so  great  a  degree,  to  his  male  figures,  which 
are  muscular  and  massive,  but  rarely  gross;  and  always  have  an  expression  of 
strength  and  self-reliance  which  makes  us  respect  them.  He  was  a  prolific 
painter,  and  excelled  equally  in  History,  Landscape,  and  Portraiture.  Kcbens 
died  at  Antwerp,  in  1640,  covered  with  honor  and  rewards. 


128.  St.  Catlierine. 

The  Princess,  very  richly  dressed,  and  holding  a  palm 
branch  in  her  right  hand,  stands  looking  upon  the  broken 
wheel  which,  in  memory  of  her  raartjrdom,  has  become  her 
symbol.  In  this  picture  are  united  in  an  eminent  degree, 
the  resplendent  and  harmonious  color,  the  transparent  hue  of 
health,  and  the  defective  drawing,  characteristic  of  the 
master.  Although  the  subject  is  a  sainted  martyr,  the 
painter  has  given  us  a  fresh,  ruddy-\dsaged  young  woman, 
who,  if  it  were  not  for  a  shade  of  pensiveness  in  her  face, 
would  seem  never  to  have  had  a  thought  other  than  that 
of  the  fullest  enjoyment  of  this  hfe.  The  freshness  and 
transparency  of  the  flesh  tints,  and  the  harmonious  disposi- 
tion of  so  many  and  so  brilliant  colors  upon  one  figure,  are 


FLEMISH    AND   DUTCH    SCHOOLS.  79 

distinguisliing  marks  of  the  master's  hand  in  the  fullness  of 
his  powers. 

%*  There  are  but  six  pictures  of  this  quality  by  Rubens,  known 
to  the  proprietor.  Three  are  in  the  Louvre,  one  is  over  the  paint- 
er's tomb,  one  is  the  famous  Chapeau  de  Faille,  and  the  other  is 
before  us.  It  was  brought  from  a  church  in  the  neighborhood  of 
Brussels,  by  Nieuwemiuysex,  the  elder,  and  sold  to  the  Count  Per- 

REGEAU. 

129.  Christ  bearing  the  Cross. 

The  Saviour  of  the  World  stands  bearing  the  Cross  upon 
his  left  shoulder.  His  hands  and  feet  are  pierced,  and  from 
his  right  side  the  blood  spouts  into  a  goblet  at  his  feet.  Red 
drapery  falls  from  the  shoulders.  The  picture  is  evidently 
intended  to  be  symbolical  of  the  Eucharist :  "  This  is  my 
blood :  drink  ye  all  of  it."  The  imnaturalness  and  absurdity 
of  the  composition  in  this  respect,  should  not  blind  us  to  the 
strength  of  the  color,  and  the  expression  of  grandeur  in  the 
figure.  The  picture  is  especially  valuable  for  historical  con- 
siderations, as  being  the  only  one  which  Rubens  is  known  to 
have  painted  on  cedar  panel.  It  formed  one  compartment 
of  a  triptique  in  the  Cathedral  of  Antwerp.  The  centre 
compartment  represented  the  Flagellation  of  Christ. 

*^*  The  proprietor  has  the  authority  of  Mr.  IIeris  for  the  au- 
thenticity of  this  picture,  and  the  locality  from  which  it  was  stolen. 

130.  Portrait  of  a  Knight  of  the  Order  of  the  Gol- 

den Fleece. 

A  middle-aged  man,  with  close-cut  hair,  and  small  mous- 
tache and  beard,  wearing  a  black  doublet  and  cloak,  and  stiff 
ruffs  at  the  neck  and  wrists,  stands  resting  his  left  hand  upon 
the  steel  hilt  of  his  sw^ord,  and  the  right  upon  his  hip.  The  head 
is  one  of  those,  the  truthful  expression  of  which  strikes  the 


80  BEY  AN   GALLERY. 

observer  at  a  glance.  Without  knowing  the  original,  we  can 
see  that  this  is  no  feeble  generalization  of  his  features,  but  a 
faithful  transcript  of  the  individuality  of  his  every  trait  of 
pei'son  and  expression.  Being  thus  literal,  it  is  at  the  same 
time  so  vivid  a  representation  of  a  class  and  a  time,  that  it 
rises  into  the  high  rank  of  historical  portrait-painting. 

*^*  This  picture  is  from  the  collection  of  Louis  PniLLiprE,  King 
of  the  French. 

131.  Susannali  and  tlie  Elders. 

The  story  of  this  composition  is  too  well  known,  and  the 
picture  tells  the  story  too  vi\ndly  to  make  any  description  of 
it  necessary.  The  character  of  the  heads,  the  rich  glow  of 
the  flesh,  and  the  expression  of  \-igorous  life  in  all  of  the 
figures,  command  unquestioning,  if  not  unqualified  admira- 
tion. 

*^*  The  picture  is  much  injured,  probably  by  fire,  as  none  of 
the  original  canvas  exists  where  the  stretchers  passed,  except 
where  they  crossed  each  other.  K"o  person  in  Europe  has  disputed 
its  originality  in  the  presence  of  the  proprietor  ;  and  a  close  exam- 
ination of  it  will  forbid  any  expert  to  risk  his  reputation  by  deny- 
ing the  proofs  of  the  Master's  hand  in  every  part  that  is  pure. 
The  heads  of  the  Elders,  the  head,  arms,  and  lands  of  Susaxxah, 
and,  above  all,  the  statue  of  Cupid,  are  irresistible.  It  was  pur- 
chased by  the  proprietor,  in  a  most  forlorn  condition,  from  the 
Valet  de  Chambreoi  Tvince  Talleyrand. 

132.  Hercules  strangling  the  Nemean  Lion. 

The  brawny  god,  with  one  foot  upon  a  huge  leopard, 
whose  dying  gasp  beai-s  one  witness  to  his  prowess,  throws 
his  left  arm  round  the  lion's  neck,  holding  his  head  in  the  re- 
verse position  of  that  called  by  sporting  men  "  in  chancery." 
The  tremendous  muscular  action  of  the  2:od,  the  asfonv  of  the 


FLEMISH   AND    DUTCH   SCHOOLS.  81 

lion,  and  the  fierceness  of  the  desperate  contest,  are  forcibly 
pourtrayed.  This  group,  an  engraving  of  which  neither  the 
proprietor  nor  the  author  have  ever  met  with,  is  found  as  an 
appropriate  monument  in  a  Battle  Piece,  No.  123,  by  Quer- 
FURT,  a  scholar  of  Rubens,  and  an   imitator  of  Wouver- 

MANS. 

%*  Several  persons,  whose  opinions  the  proprietor  highly  re- 
spects, have  denied  the  authenticity  of  this  picture  ;  but  he  thinks 
that,  on  a  careful  examination,  its  wonderful  energy  and  muscular 
movement  can  be  attributed  to  no  other  hand,  no  other  head, 
than  that  of  Rubens.  It  is  the  Belvidere  Torso — that  only  ac- 
knowledged Master  of  Michael  Axgelo — put  into  action,  and  was 
doubtless  painted  in  Italj-.  It  is  known  that  Rubens  attempted  to 
draw  the  lion  from  nature,  when  he  was  irritated  by  his  keeper. 
He  made  a  hasty  sketch ;  but,  thinking  that  a  repetition  might  be 
dangerous,  prudently  refrained  from  prosecuting  his  studies  in  the 
Van  Amburgh  school. 

133.  Landscape,  with  Figures. 

A  shepherd,  with  a  few  sheep,  have  stopped  at  a  water 
trough,  which  is  supplied  by  a  tiny  stream  brought  down  a 
hill  side.  We  must  admire  the  fine  masses  of  foliage,  the 
sparkle  of  the  water,  and  the  richness  of  the  color ;  and  no 
less,  the  large  and  free  style  of  composition  in  this  little 
sketch. 

*^*  From  an  old  chateau  in  Xormandy. 

134.  Ascension  of  the  Virgin.     (Copy.) 

The  Virgin,  supported  by  cherubs,  is  borne  heavenward, 
from  the  wondering  crowd  which  is  gathered  round  her 
tomb.  This  little  picture  is  a  superb  piece  of  color,  and  is  an 
admirable  copy  of  the  great  original,  made  by  PcELEMBURa, 
the  painter  of  the  exquisite  little  Italian  scene,  with  ruins 
and  figures  (No.  121). 


82  BRYAN    GALLERY. 

RUYSDAEL. 

Jacob  Rcysdael,  was  born  at  Harlaem,  in  1G40.  It  is  not  known  with  whom 
he  studied,  and  although  he  was  intimate  with  Berghem,  who  advised  him  to 
become  a  painter,  there  is  little  indication  in  his  works  of  the  influence  of  his 
elder  friend.  He  is  one  of  the  most  admired  of  the  old  landscape  painters.  He 
charms  by  his  variety  of  outline,  his  free,  spirited  touch,  his  chaste,  clear  color, 
and  his  happy  disposition  of  masses  of  light  and  shade.  The  figures  in  his  laud- 
scapes  are  sometimes  by  Berghem,  Yxs  de  Velde,  or  Wodvermans.  He  died 
at  his  native  1681. 

135.  Distant  View  of  Harlaem. 

We  have  nothing  here  but  a  flat  country,  the  monotony 
of  which  is  reheved  only  by  a  few  patches  of  copse  wood  ; 
and  yet  by  the  happy  disposition  of  hght,  by  a  skillful  lead- 
ing of  the  eye  along  the  far-stretching  plain,  and  by  a  har- 
mony of  sky  and  landscape,  the  painter  has  made  a  picture 
at  which  we  look  with  pleasure  and  admiration.  It  is  to  his 
power  alone  that  these  are  due ;  for  he  is  great  in  spite  of  his 
subject.  Three  figures,  by  Van  de  Yelde,  introduced  in 
the  foreground,  give  some  life  to  the  scene  without  disturb- 
ing its  quiet. 

136.  Marine  View. 

Two  ships  and  two  luggers  are  near  the  shore.  A  storm 
is  coming  up.  In  the  foreground,  on  the  beach  are  three 
figures.  The  effect  of  the  gust  is  happily  indicated  by  the 
sails  and  rigging  of  the  vessels,  and  the  foreboding  tone  of 
the  sky  is  very  true  to  nature.  The  peculiar  form  of  the 
waves  shows  careful  observation  on  the  part  of  the  artist. 
***  Tlie  figures  are  by  Yaxdevelde. 

137.  Landscape  witli  Cattle. 

A  herdsman  on  a  colt,  drives  cattle  from  a  shaded  stream. 
The  cattle  are  by  Berghem  ;  and  in  the  light  which  sparkles 
upon  them,  we  have  an  indication  of  his  early  style,  as  in 


FLEMISH    AND   DUTCH    SCHOOLS.  bo 

the  foliage  against  the  sky,  we  find  the  earliest  traces  of  Euys- 
dael's  characteristic  treatment  of  such  passages. 

SNYDERS. 

Francis  Snydkrs  was  born  at  Antwerp,  in  1579.  He  was  the  pupil  of  IIknry 
Van  Baliin.  As  a  painter  of  fruit  he  has  few  rivals,  and  as  a  painter  of  animals, 
uo  equal.  He  gives  with  fidelity  not  onl)'  the  form,  the  texture  of  the  skin,  and 
the  action  of  the  animals,  but  their  very  spirit  and  individual  expression.  Ru- 
bens and  JoRDAENs  frequently  interchanged  their  labors  with  hira.  He  died 
at  Antwerp  in  1037. 

138.  Dogs  Worrying  a  Cat. 

Six  dogs  are  amusing  themselves  by  worrying  poor  puss, 
■who  has  taken  to  a  tree.  In  the  portrayal  of  the  character- 
istic traits  of  the  animals,  as  well  as  in  the  forms  and  the 
texture  of  their  coats,  this  picture  justifies  the  exalted  repu- 
tation of  the  master.  The  landscape  is  by  Wildens  :  the 
cat,  by  OuDRY ;  by  whom  it  was  added,  and  to  whom  the 
picture  belonged.  The  hound,  upon  the  left,  has  dog  writ- 
ten so  plainly  in  every  form  and  lineament,  that  he  might 
stand  as  the  representative  of  his  race.  Bishop  Beverly 
might  have  considered  him  the  embodiment  of  "the  abstract 
idea  of  dog." 

*^*  From  the  Collection  Drolling. 

139.  StiULife. 

A  dead  deer  lies  upon  a  table,  surrounded  by  fruit  and 
vegetables.  A  dog  thrusts  his  head  from  under  the  table. 
This  picture  contrasts  with  the  other  by  the  same  master,  not 
only  in  the  absence  of  life,  of  which  that  is  so  full,  but  in 
having  its  light  fall  from  a  single  point  only,  thus  forming 
shadows  not  found  in  the  first.  In  color  and  form  it  is 
wonderfully  true  to  nature. 

»^*  Collection  of  Marshal  Oudinot. 
6 


84:  BRYAN    GALLERY. 

STEEN. 

JiN  Steen  was  bom  at  Leyden,  in  1636.  He  studied  with  Van  Ostadk  and 
Van  Goyen.  He  was  the  son  of  a  brewer,  a  brewer  and  a  tavern-keeper  him- 
self. Euined  in  his  business  by  liis  carelessnes?,  drunkenness,  and  trusting  spi- 
rit, he  kept  his  chin  above  beer  by  painting  the  subjects  around  him  with  a 
fidelity  and  humor  rarely  equalled.    He  died  at  Leyden  in  1689. 

140.    Interior  :  Family  Scene. 

The  centre  of  the  group  is  a  young  woman,  whom  a  phy- 
sician is  bleeding :  around  her  are  gathered  the  male  and 
female  members  of  her  family.  As  she  has  not  the  air 
of  an  invalid,  and  the  circle  appears  to  be  in  a  merry  mood, 
it  is  probable  that  she  promises  to  add  one  to  it,  as  bleeding, 
strangely  enough,  was,  even  in  times  not  very  remote,  thought 
advisable  in  such  circumstances.  At  a  table,  on  which  are 
grapes  and  wine,  sits  a  female  attendant ;  and  in  the  back 
ground  two  young  people  seem  to  be  doing  something  which 
is  the  Dutch  for  flirting.  The  figures  are  full  of  character, 
and  the  color  decided  and  vigorous.  The  richly  figured 
table  cloth  is  remarkable  for  its  brilliance  of  tint,  and  its  suc- 
cessful imitation  of  texture.  The  patient  is  the  painter's  own 
wife ;  on  her  right,  are  the  Van  Gotens,  (her  father  and 
mother,)  and  Jan  Steen  himself  stands  on  her  left  hand,  re- 
garding the  operation  with  interest. 

*j^*  This  picture,  which  is  superior  to  the  only  specimen  of  the 
master  in  the  Louvre,  was  purchased  from  the  Gallery  of  the 
Count  De  Turenne,  the  last  of  the  family  of  the  celebrated  Mar- 
shal. 

TENIERS. 

David  Teniers,  the  younger,  was  the  son  of  a  painter  of  the  same  name,  and 
born  at  Antwerp,  in  1610.  He  was  the  pupil  of  his  father  and  of  Brauer,  and 
finally  of  Rubens.  The  works  of  this  great  painter  are  chiefly  village  festivals, 
fairs,  anil  drinking  parties,  though  he  occasionally  devoted  his  pencil  to  graver 
subjects.  The  spirit,  the  ease  and  the  truthfulness  of  his  compositions,  the  genuine 


FLEMISH    AND   DUTCH   SCHOOLS.  85 


good  feeling  which  pervades  them,  the  lightuess  and  fineness  of  his  touch,  and 
the  charming  contrasts  of  his  pure  color,  make  them,  in  spile  of  their  great  num- 
ber, most  eagerly  sought.    He  died  at  Brussels  in  1694. 


141.  Incantation  Scene. 

A  composition  of  many  figures,  some  of  which  are  of  the 
most  uncouth  and  grotesque  forms.  In  the  centre  of  the 
picture  sits  a  young  woman,  who  looks  with  a  startled  air 
upon  the  shapes  which  the  incantations  of  an  old  crone  at  her 
side  have  called  up.  In  the  back  ground  another  wierd  and 
withered  sister  stii-s  a  boiling  cauldron ;  and  before  the  huge 
fire-place  stands  a  young  woman  stripped  of  her  clothing  and 
riding,  witch-fashion,  the  stick  of  a  broom  in  which  is  a  light- 
ed candle.  A  third  hag  urges  her  to  mount  the  chimney, 
after  a  companion  w^ho,  in  her  ascent,  has  changed  into  a  cat. 
The  room  is  filled  with  figures,  of  monstrous  forms  and  dia- 
bohcal  expression.  It  is  Teniers'  mother-in-law  whom  he 
has  here  represented  as  bewitching,  by  her  infernal  counsel, 
his  own  wife.  Poor  Teniers  !  what  dreadful  experience 
drove  him  thus  to  unite  revenge  and  satire  and  warning  in 
one  matchless  work  !  The  transparency  of  tint,  the  rich  tone, 
and  the  combined  delicacy  and  sharpness  of  touch  in  this  pic- 
ture, make  it  one  which  commands  instantaneously  the  un- 
qualified admiration  of  those  whose  cultivated  taste  enables 
them  fully  to  appreciate  the  details  of  the  painter's  art.  One 
of  the  most  distinguished  painters  in  America  said,  after 
standing  mute  before  it  for  some  time,  "  If  that  picture  were 
mine,  I  would  go  a  good  while  without  hat  or  shoes  before  I 
parted  with  it." 

***  This  picture  is  unsurpassed  by  any  other  of  tlie  Master;  and 
if  ever  equalled,  it  is  only  by  one  in  the  Gallery  of  Madrid,  repre- 
senting Teniers  himself,  painting  the  portrait  of  the  Grand  Duke 


«6  BRYAN    GALLERY. 

Leopold  and  bis  family ;  a  picture  which  makes  painters  wonder 
and  despair.     Collection  Sylvestre, 

142.  Village  Fete. 

A  large  party  of  peasants,  of  both  sexes,  are  feasting  and 
dancing  in  the  court-yard  of  an  inn.  The  inevitable  bag- 
piper is  mounted  on  a  barrel,  near  a  tree,  and  the  almost 
equally  inevitable  dog  scampers  across  the  foreground. 
What  an  admirable  embodiment  of  homely,  but  honest 
mirth  and  hilarity !  How  heartily  those  dancers  do  their 
part !  They  must  needs  do  it  heartily  ;  else  how  could  such 
heavy-heeled  creatures  dance  at  all  !  Boorish  as  the 
assembly  is,  there  is  little  grossness  in  the  scene,  in  spite  of 
the  one  drunken  fellow  whom  his  friend  and  his  wife  lead 
through  the  gateway.  There  is  a  charming  harmony  of 
color  in  this  picture,  and  the  painter's  magical  pencil  has 
made  it  sparkle  with  light.  Let  the  curious  and  critical 
remark  the  points  of  light  w^hich  flash  from  the  head  and 
wing  of  the  cock  on  the  left  of  the  picture. 

*^*  Collection  Marshal  Sebastiam. 

143.  Village  Fete. 

A  picture  similar  in  subject  and  treatment  to  the  preceding  : 
less  open  to  the  sky,  and  more  in  shadow,  however. 

144.  Boors  Regaling. 

In  the  foreground  is  a  group  of  peasants  drinking  and 
smoking  round  a  rude  table,  in  the  yard  of  an  inn.  The 
landlord  brings  some  addition  to  their  refreshment.  In  the 
background,  other  peasants  play  at  skittles.     In  this  picture, 


FLEMISH  AND   DUTCH   SCHOOLS.  87 

the  clear  gray  tints  of  open  day,  so  cliaracteristic  of  Teniers' 
pictures,  are  very  noteworthy. 
%*  Collection  Due  de  Berri. 

145.  Charles  Y.  leaving  tlie  town  of  Dort. 

The  Emperor,  in  full  armor,  is  about  to  descend  the  steps 
of  a  large  building.  The  Archbishop  gives  him  his  blessing. 
Persons  of  dignity,  in  church  and  state,  are  grouped  on  all 
sides.  In  the  background  is  the  ship  in  which  tjie  Emperor 
is  about  to  embark.  This  composition  is  filled  with  portraits  ; 
among  which,  in  the  figure  bearing  the  standard  on  the 
extreme  right,  we  recognize  that  of  the  Painter  himself. 

%*  Collection  d'Espixoy. 

146.  Parable  of  the  Laborer  who  received  a  Penny. 

The  gi'umbhng  laborer  stands,  leaning  on  his  spade,  before 
the  master  of  the  vineyard,  around  whom  are  grouped  his 
two  sons  and  three  other  figures.  In  the  background  three 
other  laborers  are  seen.  The  figures  of  the  discontented 
workman,  the  master,  and  the  person  at  his  right  hand,  are 
masterpieces  of  expression  in  attitude.  Surliness  in  the  firet, 
dignified  remonstrance  in  the  second,  and  a  puzzled  consider- 
ation of  the  question  in  the  third,  could  hardly  have  been 
more  clearly  portrayed.  In  harmonious  color  the  picture  is 
a  jewel.  Who  cares  for  the  anachi-onisms  in  such  a  work  ? 
What  matter  is  it  that  the  master  has  the  head  of  Rubens, 
and  that  he  weai-s  a  scarlet  hat  with  blue  and  white  plumes, 
while  his  principal  attendant  is  clothed  in  the  robes  and  tur- 
ban of  the  East  !  As  historical  records,  such  erroi-s  may 
affect  the  value  of  such  pictures,  but  not  as  works  of  art. 

*i.^  Collection  Louis  Piiileppe. 


88  BRYAN    GALLERY. 


TERBURG. 

Gerard  Tkrburo  was  bora  at  Zwol,  in  Switzerland,  in  the  year  1608.  He  was 
the  son  of  an  indififerent  painter,  who  instructed  him,  and  whom  he  left  to  visit 
Italy,  France,  Spain,  and  England.  He  painted  gtnre  and  portraits.  His  pictures 
are  remarkable  for  their  high  finish,  and  for  the  exquisite  manner  in  which  the 
stufifs  of  the  draperies  are  painted.  His  drawing  was  not  correct,  neither  had  he 
much  power  to  embody  sentiment.    He  died  at  Deventer,  in  1681. 


147.  Portrait  of  William,  Prince  of  Orange  (William 
III.), 

The  prince,  dressed  in  an  orange-colored  doublet,  with 
elaborate  sleeves,  and  hose  and  sash  of  the  same  color,  and 
wearing  a  long  peruke,  stands  upon  a  ledge  of  rock.  Behind 
him  is  a  greyhound ;  at  his  side  a  helmet,  watch  and  trun- 
cheon ;  at  his  feet  other  arms,  shells,  a  skull,  an  hour-glass, 
and  a  spaniel.  A  serpent  thrusts  its  head  from  the  rock 
toward  the  prince.  In  the  cool,  self-possessed  boy  represented 
here,  we  have  the  "  father  of  the  man"  who  was  the  crafty 
schemer  and  the  prudent  king.  The  picture  is  remarkable 
for  its  elaborate  treatment  of  detail. 

*^*  This  is  the  portrait  cited  by  Descamp  as  the  one  which 
"William  insisted  that  the  artist  should  paint ;  he  being  a  burgo- 
master devoted  to  the  prince's  cause.  It  is  signed  '  G.  Terborch/ 
which  is  the  only  genuine  signature  of  the  Master. 

VAN  DE  YELDE. 

William  Van  dk  Velde,  who  has  no  superior  as  a  marine  painter,  was  born 
at  Amsterdam,  in  1G33.  His  father,  who  was  also  a  painter  of  sea  pieces,  gave 
him  his  first  instructions  in  the  art,  but  he  afterward  studied  with  Simon  de 
Vlieger.  After  acquiring  a  great  reputation  in  Holland,  he  joined  his  father, 
who  was  in  London.  He  is  distinguished  by  his  power  of  expressing  the  spirit 
of  the  scene  he  depicts,  whether  it  be  calm  or  Btorm  ;  by  the  pleasing  manner  in 
which  he  groups  his  vessels ;  and  by  the  delicate  accuracy,  removed  from  stiff- 
ness, with  which  he  draws  the  rigging.  He  was  a  very  fertile  artist ;  but  his 
works,  though  often  occurring,  maintain  a  high 'value.  Some  of  his  early  pictures 
were  designed  by  his  father.    He  died  in  1707. 


FLEMISH    AND   DUTCH   SCHOOLS.  89 

148.  Marine  View. 

The  water  is  hardly  rippled,  and  the  five  vessels  nearest 
the  eye  lie  motionless,  with  sails  dropping  idly  to  the  mast. 
Porpoises  are  sporting  round  the  nearest  ship.  The  air  is 
filled  with  a'  light  purple  haze,  half-hiding  in  the  distance  the 
sails  of  other  vessels,  which  begin  to  feel  the  effects  of  a  rising 
breeze.  The  tints  of  water  and  sky  are  truthful  and  beautiful, 
and  the  tone  of  the  picture  induces  pleasant  reverie. 

149.  Marine  View. 

Small  vessels  are  becalmed  in  shallow  water.  In  a  boat, 
lying  in  a  narrow  passage  through  exposed  flats  in  the  front, 
are  two  figures  ;  a  third,  on  the  flats,  carries  a  basket  to  the 
boat.  The  picture  presents  the  scene  with  an  unsurpassable 
truthfulness  and  simplicity. 

*i^*  Collection  Giroud. 
VAN  DER  VELDE. 

Adrian  Van  dkr  Veldk,  born  at  Amslerdam  in  1639,  was  the  pupil  of  Wy- 
NANTs,  whose  landscapes  he  often  enriched  with  figures.  He  was  a  devoted  and 
loving  student  of  nature,  whose  effects  he  reproduced  with  powerful  truth  and  an 
enchanting  simplicity.  His  pictures  are  generally  landscapes  with  figures ;  but 
his  genius  was  versatile,  and  he  even  painted  an  altar-piece  which  is  highly  es- 
teemed. His  landscapes  are  remarkable  for  their  rich  and  juicy  color,  and  his 
figures  for  their  correctness  of  design.    He  died  at  Amsterdam,  in  1C72. 

150.  Landscape,  with  Animals. 

A  few  horses,  cows,  sheep,  and  goats  in  repose  or  crop- 
ping the  scanty  herbage  of  a  somewhat  barren  field.  In 
color,  this  charming  little  picture  is  luxuriously  rich ;  and  the 
forms  of  the  animals  are  given  with  profound  knowledge  of 
nature  and  mastery  of  design.   Added  to  this,  there  is  a  keep- 


90  BKYAN    GALLERY. 

ing-  between  tlie  composition  and  the  tone  in  ^vllicll  it  is 
painted,  which  contains  within  itself  an  indescribable  charm. 

*^*  This  picture,  thougli  small,  gives  a  just  idea  of  the  power  of 
the  master,  from  whose  pencil  the  proprietor  lias  never  seen  a  fee- 
ble work ;  though  Adrian  may  have  adorned  with  his  figures  the 
compositions  of  inferior  masters.  This  picture,  together  with  the 
small  landscape  by  Rubens,  is  from  an  old  chateau  in  N^ormandy. 

VERBOOM. 

Of  Vkrboom  little  is  known,  but  that  he  flourished  about  the  middle  of  the 
17th  century,  living  probably  at  Harlaera,  and  that  he  has  left  a  few  very  charm- 
ing landscapes,  in  which  Wouvkrmans  or  Lingelbacu  generally  painted  the 
figures. 

151.  Landscape,  witli  Figures. 

A  hunting  party,  consisting  of  two  mounted  figures,  with 
a  huntsman  and  dogs,  emerge  from  a  darkly  shaded  wood- 
path.  On  the  left,  is  a  glimpse  of  open  country,  with  a  riv- 
ulet. 

*^*  So  fine  a  specimen  of  the  master  is  rarely  to  be  found.  The 
group  of  figures,  by  Lingelbacu,  is   almost  worthy   of  Wouver- 

MANS. 

WEENINX. 

Jan  Baptist  Weeninx,  was  born  at  Amsterdam  in  1621.  He  studied  with 
Michel,  with  Bloemart,  and  with  Moyakrt.  He  also  visited  Italy.  He  paint- 
ed all  kinds  of  subjects,  and  imitated  various  masters,  always  with  surprising 
success.  In  his  landscapes  with  ruins  and  figures,  he  has  been  surpassed  only 
by  Bkrghem.    He  died  in  1660. 

152.  Ruins,  Avith  Figures. 

A  cat  has  stolen  a  bird  from  a  huckster,  who  plies  her 
trade  in  the  shadow  of  a  large,  ruined  building.  In  starting 
up,  she  has  overturned  her  stall.  A  boy  at  her  right,  enjoys 
the  theft  and  her  excitement.     Beyond,  a  semi-circular  porch 


FLEMISH    AND    DUTCU    SCHOOLS.  91 

of  the  building  is  seen,  near  which  are  other  figures.  The 
boy's  head  is  full  of  mischievous  spirit,  the  woman's  head 
and  attitude  fine,  and  the  color  of  this  portion  of  the  picture 
very  harmonious ;  but  the  perspective  is  bad,  and  the  cat  is  a 
huge,  nondescript  animal,  with  a  mastiflf's  body  and  action, 
and  the  head  of  a  tiger. 

*4j*  In  the  opinion  of  the  proprietor,  this  picture,  though  strik- 
ing at  first,  is  extremely  false  in  everything,  like  most  others  of 
this  painter's  works.     It  is  from  the  collection  of  Cardinal  Fesch. 

WOUVERMANS. 

Philip  Wocvkrm.vns  was  born  at  Ilarlaem  in  16-20,  and  became  the  pupil  of 
Wyn.vnts.  He  painted  landscapes,  with  horses  at  fairs,  in  marches,  charges  of 
cavalry,  in  short,  in  every  imaginable  situation,  with  a  fidelity  of  design  and  rich- 
ness and  softness  of  color  which  place  him  in  the  first  rank  of  the  painters  of  his 
school.    He  died  at  Harlaem,  in  1668. 

153.  Travellers,  by  a  River-side. 

Several  figures,  one  in  the  water,  one  on  horseback,  wait 
at  a  river-side;  some  are  engaged  in  putting  luggage  on 
board  a  small  vessel.  This  picture  has  unfortunately  been 
much  injured  in  many  places ;  but  in  the  head  and  shoul- 
dei-s  of  the  white  hoi^se  may  be  found  a  specimen  of  the  mas- 
ter's best  style  of  painting. 

*^*  The  signature  is  unquestionably  genuine. 

154.  The  Burning  and  Sacking  of  a  Town. 

Not  far  from  the  burning  buildings,  soldiers  are  butcher- 
ing the  wretched,  flying  inhabitants,  who  even  seek  death  by 
water  rather  than  meet  their  conquerors. 

*^*  It  is  an  early  picture  of  the  master,  and  though  meritorious, 
gives  no  idea  of  the  fullness  of  his  powers. 


yli  BRYAN    GALLERY. 

WYNANTS. 

Jan  Wynants  was  born  at  Harlaem,  about  IGOO.  We  do  not  know  who  was 
the  instructor  of  this  great  master  of  landscape.  His  pictures,  the  subjects  of 
which  are  not  always  well  chosen,  never  fail  to  strike  the  observer  by  their  won- 
derful truthfulness,  as  well  of  expression  as  of  design  and  color.  His  works  are 
often  enriched  by  the  figures  of  Wouvkrmans,  Van  de  Velde,  Linoklbach, 
ScHELLiNGS,  Wyntranck,  and  Barknt  Gaal.    He  died  in  1670, 


155.  Landscape. 

A  view,  apparently  in  the  park  of  some  old  mansion,  the 
ruined  gateway  and  wall  of  which  are  conspicuous  in  the 
foreground.  The  composition  is  not  very  pleasing,  but  the 
treatment  is  so  delicate  and  pleasing  that  the  eye  rests  with 
satisfaction  upon  the  picture.  The  equestrians  and  beggar 
in  the  foreground  are  by  Barent  Gaal. 

*^*  It  is  a  fair  specimen  of  the  master.     Collection  Giroud. 
ZORG. 

Henry  Martin  Rokks,  who  inherited  the  name  of  Zorg  (careful),  from  his 
father,  was  born  at  Rotterdam,  in  1621.  He  became  a  pupil  of  Teniers,  and 
painted  in  the  same  style;  but  he  was  first  instructed  by  Buytenweg,  of  Rotter- 
dam. His  composition  is  pleasing,  his  design  correct,  and  his  color  warm.  He 
died  in  1682. 

156.  Still  Life. 

This  picture  shows  us  that  the  hand  of  genius  can  invest 
with  interest  even  a  collection  of  pots  and  pans  and  green 
groceries,  in  an  old  cellar.  In  delicacy  of  touch,  and  har- 
mony of  color,  the  picture  is  a  marvel. 

*^*  It,  as  well  as  the  'Sorcery  Scene'  by  Teniers,  ornamented 
the  collection  of  Mons.  Sylvestre,  whose  ancestors  have  been  either 
artists  or  connected  with  art  since  the  year  1490.  A  noble 
pedigree. 


FLEMISH    AND    DUTCH   SCHOOLS.  OS- 

UNKNOWN  MASTER. 

156.  (A).     Kuins,  with  Figures. 

In  tlie  foreground  are  three  women,  a  man,  and  a  group 
of  animals.  One  of  the  women  is  upon  an  ass,  who  drinks 
from  a  fountain.  Most  of  the  rest  of  the  canvas  is  occupied 
by  ruins.  This  picture  is  signed  J.  R.  The  unknown 
painter  was  evidently  a  Flemish  artist  who  had  studied  in 
Italy.     The  color  is  warm,  harmonious,  and  pleasing  in  tone. 

UNKNOWN  MASTER. 
156.  (B.)     St.  Jolin  Preacliing. 

St.  John  stands  upon  the  steps  of  a  small,  ruined  temple. 
Around  him  is  a  gi'oup  of  about  forty  figures,  some  of  whom 
are  on  horseback.  On  the  left,  we  look  into  the  recess  of  a 
wood,  on  the  skirts  of  which  the  temple  stands  ;  on  the  right, 
the  eye  follows  a  road,  on  which  figures  are  seen,  into  a  wild 
and  broken  country.  It  has  been  found  impossible  to  deter- 
mine who  was  the  painter  of  this  charming  picture,  in  which 
we  know  not  whether  most  to  admire  the  efi"ective  grouping, 
the  individual  character  and  easy  position  of  the  figures,  the 
fine  creative  power  shown  in  the  composition  of  the  land- 
scape and  the  painting  of  the  sky,  in  which  the  light,  vapory 
clouds  fairly  float,  or  the  rich  and  juicy  color  which  appears 
in  every  part  of  the  canvas.  The  excellence  of  every  part  of 
the  picture  amounts  almost  to  the  fault  of  leaving  it  no  chief 
point  of  attraction.  The  eye  wanders  from  the  principal 
group,  to  stray  musingly  away  into  the  wilderness  on  the  one 
hand,  or  to  peer  into  the  clear  shadows  of  the  forest  on  the 
other.  Some  of  the  figures  look  like  the  work  of  Wouver- 
MANS ;  some  are  worthy  of  the  pencil  of  Ostade  ;  the  man 


94  BRYAN  GALLERY. 

with  a  stick,  walking  away  on  the  left,  might  have  been 
drawn  by  Teniers  ;  but  the  picture  is  not,  in  composition  or 
color,  in  the  style  of  either  of  these  masters. 
*^*  From  the  collection  of  General  DEsroRr. 


GERMAN  SCHOOL. 


CRANACH. 

Lucas  Cranach,  whose  family  name  was  Sunder,  took  his  designation  from  bis 
native  place,  Cranach,  in  Bamberg,  where  he  was  born,  in  1470.  He  painted  in 
the  stiff  and  formal  style  which  prevailed  before  Albert  Durer's  reformation 
of  the  art.  His  works  are  chiefly  historical  pictures  and  portraits,  in  which  his 
warm  color  and  faithful  endeavors  to  represent  nature,  attract  our  admiration. 
He  died  in  1553. 

157.  Venus  and  Cnpid. 

Cupid  has  in  his  liand  a  honey-comb,  taken  from  a  hollow 
tree  behind  him,  and  appears  to  be  asking  his  mother  if  he 
may  taste  his  prize.  The  goddess  has  no  other  costume  than 
a  heavy  necklace,  and  a  small  scarf  of  such  extreme  tenuity 
that  its  substance  is  scarcely  perceptible.  The  forms  are  very 
poor,  but  in  the  flesh  tints  is  a  somewhat  nearer  approach  to 
nature. 

158.  Portrait. 

This  is  an  elaborate,  but  dry,  flat  portrait,  of  an  old  Ger- 
man lady  of  rank,  whose  head-dress  will  interest  observers  of 


GERMAN    SCHOOL.  95 

her  own  sex.     Over  her  right  shoulder  her  family  arms  are 
blazoned. 

*5it*  Collection  d'Espinoy. 

DENNER. 

Balthazar  Desner  was  born  at  Hamburgh,  in  1685.     He  received  no- 
instniction  from  any  painter  of  the  least  note.    He  travelled  through  Germany, 
and  visited  England.    His  works  are  chiefly  remarkable  for  their  painstaking  ae^- 
-curacy  and  elaborate  finish.    He  died  in  1747. 

159.  Portrait. 

An  old  lady,  with  a  silk  hood.  The  marks  of  age  are 
given  with  great  accuracy  and  truthfulness. 

160.  Miniature  Portrait. 

An  old  man,  wearing  a  cap,  and  a  breastplate  over  a  rich 
doublet.     This  head  is  painted  with  an  elaborateness  of  de- 
tail worthy  of  Gerard  Douw,  while  at  the  same  time  it  is 
modelled  with  a  free  and  learned  hand. 
*^*  Collection  General  Cotint  Turexxe. 

DURER. 

Albert  Ditrer  was  the  son  of  a  Nuremberg  goldsmith,  and  was  born  in 
1471.  He  was  the  pupil  of  Michael  Wolgemuth.  He  first  gave  life  and  form  to 
the  German  School.  His  invention  is  fertile,  his  color  good,  and  his  finishing  very 
elaborate.  He  is,  nevertheless,  not  free  from  the  formal  conventionalisms  of  his 
day  ;  his  color  is  not  always  well  blended,  and  his  high  finish  often  produces  the 
effect  of  hardness.  His  drapery  is  well  disposed,  but  is  too  much  broken  into- 
quaint  and  curious  forms.  He  attained  great  distinction  as  an  engraver.  He 
painted  history  and  portrait.     He  died  in  1528,  at  the  place  of  his  birth. 

161.  Triumph  of  Christianity. 

It  is  almost  always  extremely  difficult  to  reconcile  and 
systematize  the  incongruous  elements  of  Albert  Durer's 
crowded  compositions.     Some  of  them  are  to  this  day  sealed 


■96  BBTAN   GALLEEY. 

books  to  the  astiitest  critics.  It  would  be  hardly  profitable  to 
attempt  more  than  a  description  of  this  picture.  In  the  fore- 
ground an  angel  brings  a  large  salver  of  fruit  to  a  young 
woman  clothed  in  voluminous  red  drapery,  and  having  upon 
her  lap  an  infant,  around  whose  neck  is'  a  rosary.  Before 
her  lie  a  covered  basket  with  a  lock,  a  sack,  and  a  staff. 
Behind  her,  on  the  right,  an  angel  shakes  fruit  into  the  robe 
of  an  old  man,  while  another  gathers  that  which  falls  upon 
the  ground,  and  a  caparisoned  mule  browses  beneath  the 
trees.  Were  there  nothing  more,  the  subject  would  evident- 
ly be  the  Repose  in  Egypt.  On  the  left  of  the  picture  is  a 
richly  ornamented  fountain,  which  has  been  surmounted  by 
a  gilded  statue  of  an  emperor.  This  has  been  broken,  and 
the  upper  portion,  (the  head  bearing  the  imperial  laurel,)  lies 
at  the  base.  Still  further  on,  we  see  a  husbandman  harrow- 
ing a  field  with  just  such  an  implement  as  is  used  now  in 
New  England  or  New  York.  The  lane  which  skirts  the 
field,  is  also  shut  by  a  barred  gate,  which  shows  us  that 
for  three  hundred  and  fifty  years  gate-makers  have  been 
conservative.  Yet  further  on,  along  this  lane,  is  a  body  of 
men-at-arms,  whose  leader  questions  a  reaper  who  has  made 
a  slight  impression  upon  a  ripe  field  of  corn.  In  the  dis- 
tance, on  this  side,  are  villas  of  strange  forms,  and  finally  a 
precipitous  mountain ;  on  the  other,  a  mill  stream,  with  a 
sharp-gabled,  brick  mill,  and  a  level  country  beyond.''  The 
tranquil  security  of  the  Holy  Family,  the  broken  statue  of  a 
pagan  emperor,  and  the  baffled  troops,  are  evidently  typical, 
and  have  given  the  composition  its  name.  The  color  is  crude 
and  inharmonious,  the  flesh  tints  cold  and  forbidding.  The 
Virgin's  face  expresses  purity  and  placid  happiness.  The 
composition  is  formal,  and  the  perspective  not  true,  though 
good  for  the  date  of  the  picture.     The  work  is  finished  with 


GERMAN   SCnOOL.  97 

the  most  laborious  making  out  of  details  ;  witness  the  flower 
of  the  Iris  lily  in  the  foreground. 

*»*  This  picture  is  from  the  collection  Quedeville,  Although 
the  D-sliaped  padlock  on  the  basket,  may  be  taken  for  the  signa- 
ture of  the  artist,  the  authenticity  of  the  work  is  questionable. 

162.  St.  George  and  tlie  Dragon. 

The  hero  of  England,  mounted  on  an  armed  hoi-se,  in 
gilded  plate  armor,  and  under  a  forest  of  variegated  plumes, 
attacks  with  his  sword,  a  somewhat  diminutive  and  by 
no  means  fierce-looking  dragon,  which  has  already  broken 
his  lance.  Hard  by  is  the  lady ;  and  a  castle-crowned 
rock  closes  the  scene.  The  figures  are  painted  with  almost 
painful  elaboration ;  and  in  the  peculiar  form  of  the  knight's 
drapery,  the  hand  of  Durer  is  easily  traced. 

UYTENWAEL. 

Joachim  Uytknwael  was  born  at  Utrecht,  in  1566,  and  was  a  pupil  of  Joseph 
DE  Beer.  He  painted  somewhat  in  the  style  of  Henri  Goltzius,  whose  afifected 
attitudes  and  mannered  outline  he  often  reproduced. 

163.  The  Judgment  of  Paris. 

A  little  rivoilet  di\ades  the  three  goddesses,  Paris  and 
Mercury,  from  a  group  of  fauns  and  wood-nymphs,  which 
occupies  the  immediate  foreground.  The  flesh  tints  are 
warm,  transparent,  and  pleasing  in  tone,  but  the  drawing  and 
modelling  of  the  figures  is  full  of  error.  The  classical 
observer  will  remark  the  substitution  of  a  broad-leafed  crim- 
son hat  for  the  Phrygian  bonnet  of  the  Idan  shepherd,  and 
of  a  similar  head-dress  for  the  winged  cap  of  Mercury. 

SCHCEN. 

Martin  Schongauer,  called  Martin  Scii3N,was  one  of  the  earliest  German 
painters.    His  pictures  are  very  scarce,  and  little  is  known  of  him.    The  time  of 


96  BRYAN    GALLERY. 

his  birth  is  variously  supposed  to  liave  been  about  the  years  1445  to  1453.  It  is 
equally  uncertain  whether  the  event  took  place  at  Culmbach,  Colmar,  or 
Augsbourg.  His  works  afford  little  gratification  to  the  mere  seeker  after  beauty 
of  form,  in  the  present  day;  but  they  are  invaluable  in  the  history  of  art,  and  won 
him  the  admiration  of  Albert  Di-rkr,  Perugino,  and  of  Michael  Angelo,  is 
his  youth.    Schongauer  attained  eminence  as  an  engraver.    He  died  in  1499. 

164    Adoration. 

In  the  air,  the  Virgin  appears,  with  Jier  Divine  Son.  She 
sits,  resting  her  feet  upon  the  crescent  moon,  and  surrounded 
by  a  flamboyant  aureola.  Below,  in  what  are  apparently 
the  pleasure  grounds  of  a  palace,  is  a  group  of  seven  figures, 
the  principal  of  which  appears  to  be  a  person  of  regal  rank, 
fulfilling  a  vow,  and  who,  having  laid  aside  his  crown,  swings  a 
burning  censer  before  the  Virgin.  On  the  left  is  a  lady, 
apparently  his  consort,  with  two  attendants ;  on  the  right 
are  three  of  his  counsellors  ;  one  of  whom,  it  will  be  seen, 
is  a  priest.  This  is  supposed  to  be  a  portrait  of  Luther,  in 
his  youth.  The  grouping  is  formal  and  tasteless,  the  six 
heads  being  in  one  unbroken  line ;  but  the  action  of  the 
individual  figures  is  quite  natural  and  graceful.  The  color 
is  also  somewhat  harmonious. 

***  Collection  General  d'Espinoy. 

VALKENBURG. 

Martin  and  Lucas  Valkenburg  were  brothers,  bom  at  Malines,  between 
1530  and  1540.  They  painted  landscape,  of  which,  as  a  distinct  branch  of  the 
art,  they  were  the  first  masters.  Their  pictures,  like  all  those  of  very  early  date,, 
are  filled  with  the  minutest  detail. 

1(35.  Landscape,  witL.  Figures. 

In  the  distance,  bodies  of  troops  are  seen  laying  waste  the 
country,  and  harrying  the  inhabitants.  In  the  foreground, 
some  of  the  latter  appear,  armed  for  resistance,  others  bring  in 
property  for  safe  keeping. 

The  management  of  the  distance,  the  strength  of  the  fore- 


SPANISH   SCHOOL. 


$9 


ground,  and  the  line  action  of  the  figures,  seem  almost  incon- 
sistent with  the  very  early  date  of  this  work. 

166.  Landscape. 

From  a  hill  in  the  foreground  we  look  off  upon  a  plain 
watered  by  a  large  river.  Two  large  trees  are  upon  the  left, 
and  past  them  flows  a  brook,  on  which  we  see  wild  fowl,  and 
in  which  we  see  fish.  A  man  sits  upon  the  side  of  the  hill, 
and  a  woman  carrying  eggs  passes  him  upon  the  road.  The 
detail  of  this  picture  is  in  the  oldest  German  style.  Not  only 
do  we  see  rabbits  and  birds  and  butterflies,  and  even  fish  and 
vermin  and  worms,  but  even  the  scales  upon  the  fish. 

*^*  This  picture  possesses  great  interest  in  being  the  earhest 
known  landscape  painted  otherwise  than  as  a  mere  accessory  to 
some  historical,  rehgious,  or  other  subject.  Both  these  landscapes 
are  from  the  Collection  Quedeville. 


SPANISH  SCHOOL. 


VELASQUEZ. 

Diego  Rodrigxjkz  dk  Silva  y  Velasqvez  was  born  of  a  noble  family,  at 
Seville,  in  1594.  He  was  liberally  educated,  and  became  a  pupil  of  Francisco 
IlERRER  V,  the  elder,  whose  studio  he  left  for  that  of  Francisco  Pacheco,  whose 
daughter  he  married.  Leaving  Seville  for  Madrid,  in  1622.  he  received  the 
hi-hest  honors  of  his  profession,  and  was  appointed  painter  to  the  King,  and 
subsequently  one  of  his  chamberlains.  The  visit  of  Rubens  to  Spain,  and  that 
of  Velasqcez  to  Italv,  had  a  marked  effect  in  enriching  the  color  and  chastemng 
the  design  of  the  latter.  On  his  return  from  Italy,  he  received  the  order  of  San- 
tiago, one  of  the  very  highest  honors  in  the  gift  of  the  King.  "Velasquez 
essayed  almost  every  subject  within  the  province  of  his  art,  and  succeeded  m  all 
he  undertook."  His  strong,  harmonious  color,  his  flesh  tint  of  pure  red  and 
white,  and  his  great  power  in  giving  character  to  his  J^^f  J^^dll'S  ' 
traits  in  him  who  was  excellent  in  every  thing.    He  died  at  Madrid,  in  1660. 

7 


100  BEYAN    GALLERY. 

167.  Philip  IV.  of  Spain,  as  David  witli  Goliali's 

Head. 

The  victorious  shepherd-boy  is  represented  with  the  head 
of  the  giant  in  his  left  hand,  and  the  sword  in  his  right.  His 
position  expresses  calm  confidence,  and  his  face  is  the  index 
of  an  ingenuous  spirit.  He  wears  a  tawny  under-vest,  a 
slashed,  purple  doublet,  and  a  red  cap  and  feather.  The  flesh 
"has  the  tints  of  "  blood  and  milk,"  which  are  proverbially 
characteristic  of  the  Master;  and  the  hues  of  the  drapery, 
though  sober,  are  rich  and  harmonious. 

***  From  the  collection  of  Marshal  Sebastianl 

168.  Landscape. 

In  the  foreground  is  an  equestrian  hunting  group  of  five 
figures,  with  a  dog.  On  the  right,  a  mass  of  foliage  boldly 
and  freely  painted.  In  the  first  distance,  two  figures  cross  a 
bridge.  The  silvery  tone  of  the  distance  is  peculiar  to  the 
country. 

*^*  Found  at  Rome.  A  picture  of  a  similar  style,  the  only  one 
ever  seen  by  the  proprietor,  is  in  the  possession  of  Mr.  Madrazo, 
the  Director  of  the  Royal  Gallery  of  Madrid. 

MURILLO. 

Bartolome  Esteban  Murillo  was  born  near  Seville,  in  the  year  1613.  His- 
parents,  though  well  descended,  were  poor,  and  he  was  destined  for  the  life  of  a 
man  of  business;  but  his  propensities  for  painting  were  so  strong,  even  in  his 
childhood,  that  his  maternal  relative,  Juan  de  Pastillo,  a  painter,  took  him  aa 
a  pupil.  From  so  inferior  an  artist,  Murillo  could  learn  nothing  but  the  rudi- 
ments of  his  art,  but  he  derived  great  benefits  from  the  study  of  the  works  of 
Pedro  de  Moya,  a  former  pupil  of  Juan,  but  who  had  studied  afterward  with 
Vandyke,  whom  he  made  his  model.  Murillo,  by  the  scanty  profits  of  the  sale 
of  a  few  genre  pictures,  managed  to  reach  Seville,  and  by  the  further  exercise  of 
his  pencil  for  the  famous  fair  held  at  that  city,  he  secured  enough  to  defray  the 
trifling  expenses  of  a  journey  on  foot  to  Madrid.  Here  he  became  the  pupil  and 
protege  of  Velasquez,  the  study  of  whose  works,  as  well  as  those  of  Titian, 


SPANISH    SCHOOL.  101 

brought  by  Vklasqukz  to  Madrid,  had  much  influence  upon  his  style.  He  was 
a  painter  of  the  Real,  as  opposed  to  the  Ideal  School.  He  sought  to  paint  that 
which  was  before  him  ;  but  his  genius  redeemed  even  the  ordinary  faces  of  his 
models,  so  full  are  his  pictures  of  the  purest  and  most  genuine  expression  of  the 
best  feelings  of  human,  and  even  of  Divine  nature.  He  had  a  power,  in  which  he 
is  unrivalled,  of  embodying  the  most  elevated  feeling  without  clothing  it  in  ideal 
beauty.  Murillo  stands  among  the  first  colorists  the  world  has  known.  He 
had  three  styles:  the  first  adopted  while  under  the  influence  of  Spagnolktto, 
(Ribkra)  ;  the  second,  in  emulation  of  Titian;  and  the  third  and  last,  adopted 
about  1655,  in  imitation  of  Vandyke,  which  is  cool,  tender  and  silvery,  and  is 
both  delicate  and  rich,  sweet  and  powerful. 

Mdrillo  never  left  Spain,  although  he  had  opportunities  to  do  so.  He  clung 
to  his  native  Seville  with  a  fond  attachment.  In  IGGO,  he  established  the  Aca- 
demy of  that  city,  and  was  made  its  head.  His  greatest  picture.  The  Immaculate 
Conception^  of  the  Church  of  the  Venerables  at  Seville,  was  painted  in  1670. 
Twelve  years  after,  he  fell  from  the  scafi".)ld  on  which  he  stood,  while  painting  an 
altar-piece  for  the  Church  of  the  Capuchins,  at  Cadiz.  He  lingered  for  some  time, 
and  died  on  the  12ih  of  April,  1682,  in  that  city. 

169.  Adoration  of  tlie  Magi. 

The  Virgin,  with  the  child  and  Joseph,  sit  in  the  porch  of 
a  large,  ruined  building.  Before  them  kneel  two  of  the 
Magi,  with  gifts,  while  another,  an  Ethiopian,  approaches 
through  the  arched  entrance.  Beyond,  is  the  armed  escort 
of  the  company,  and  on  one  side  two  figures  lean  through  a 
window,  looking  upon  the  newly-born  Saviour.  The  clear, 
silvery  tone  of  the  lights,  and  a  slight  tendency  to  opacity  in 
the  shadows,  indicate  the  last  period  of  the  Master.  The 
harmony  of  the  broad  masses  of  color  in  the  robes  of  the 
kneeling  figures,  is  very  grateful  to  the  eye.  The  head  of 
the  older  one  is  of  a  fine  type,  and  is  colored  with  a  full  and 
tender  pencil. 

170.  Adoration  of  tlie  Sheplierds. 

The  infant  Christ  is  laid  upon  a  hamper.  On  one  side 
the  Virgin  kneels  in  adoration,  and  on  the  other  are  Joseph 
and  three  shepherds.     Joseph  and  one  of  the  shepherds  are 


102  BRYAN    GALLERY. 

kneeling,  and  two  others  are  bending  over  the  group.  A  child 
kneels  with  one  of  the  shepherds.  Behind  the  Virgin  hover 
two  cherubs.  There  is  a  homely  earnestness  of  feeling  in 
this  picture,  quite  characteristic  of  Murillo.  The  color 
assigns  it  to  his  last  period. 
*^*  From  the  gallery  of  Marshal  Soult. 

171.  Tlie  Vision  of  St.  Francis. 

The  saint  looks  heavenward,  with  an  ecstatic  expression  of 
wrapt  devotion.  The  ascetic  and  the  enthusiast  are  finely 
embodied  in  this  well-modelled  head,  which  is  warm  in 
color,  and  belongs  to  the  second  or  middle  period  of  the 
Master. 

LLANOS  Y.  VALDES. 

SebastiaK  Llanos  y  Valdes  was  one  ot  the  pupils  of  Herrkra  the  elder. 
The  time  and  place  of  his  birth  and  death  are  not  known.  He  contributed  much, 
by  his  efforts,  to  the  establishment  of  the  Royal  Academy  of  Madrid,  and  was 
chosen  first  Vice  President,  and,  afterward;^,  President.  His  style  is  somewhat 
mannered  ;  but  his  design  is  correct,  and  his  color  rich  and  pleasing.  He  painted 
but  very  few  large  pictures. 

1^72.  The  Entombment  of  Christ. 

The  subject  is  treated  with  mingled  tenderness  and  power. 
The  body  of  Christ,  just  removed  from  the  cross,  lies  on  a 
white  cloth,  and  rests  upon  his  mother's  knees.  A  youthful 
figure  supports  the  Virgin ;  while  at  the  feet  of  the  Saviour 
Mary  Magdalen  kneels,  and  kisses  his  hand.  Behind  her 
stand  Joseph  of  Arimathea  and  another  old  man,  engaged 
in  reading  the  "  writing "  which  Pilate  had  caused  to  be 
placed  over  the  head  of  Christ.  The  gloom  of  twilight 
falls  upon  the  group.  The  composition  is  fine  ;  the  figure  of 
Christ  more  anatomically  correct  than  is  generally  the  case 


FltENCH   SCHOOL.  103 

in  the  works  of  Valdes  ;  the  Virgin's  face  expresses  a  great 
and  noble  maternal  sorrow  ;    and  the  heads  of  the  two  old 
men  are  boldly  modelled,  and  richly  and  strongly  colored. 
***  From  the  gallery  of  Marshal  Soult. 


FEENCH  SCHOOL. 


EARLY  UNKNOWN  ARTISTS. 

173.  The  Entombment  of  Christ. 

Joseph  of  Arimathea,  and  an  assistant,  are  placing  the 
body  of  Christ,  which  lies  in  a  winding-sheet,  in  a  stone 
sepulchre.  The  Virgin  and  two  holy  women  look  on  ^vith 
profound  grief. 

174.  The  Resurrection. 

Christ,  surrounded  by  the  elliptical  halo,  appears  in  mid- 
air, rising  from  the  tomb.  Three  of  the  sentinels  start  away 
in  fright :  one  has  fallen  to  the  ground  in  a  swoon. 

These  two  pictures  are  parts  of  a  triptique  ;  and  are  among 
the  earliest  specimens  of  the  French  school.  They  display  a 
considerable  knowledge  of  form,  and  skill  in  composition. 
The  heads  have  individuahty,  and  some  expression. 

175.  Head  of  Christ. 

A  full  front  view  of  the  face,  tolerably  correct,  but  utterly 


104  BRYAN   GALLERY. 

without  character  or  expression.  It  is  upon  leather,  which, 
after  the  head  was  painted,  was  stamped  and  gilded  so  as  to 
form  around  it  a  strange  quadrangular  halo,  in  which  fleur 
de  lis  are  prominent.  Upon  the  edge  is  an  inscription,  of 
which  only  Adoro — Redentor,  I.  H.  S.,  is  legible.  It  is 
probably  not  older  than  the  latter  part  of  the  fourteenth 
century,  and  was,  doubtless,  an  object  of  adoration  to  some 
devout  Catholic. 

FREMINET. 

Martin  Frkminet,  born  in  Paris,  in  1567,  was  the  son  of  a  poor  painter,  under 
whose  insufficient  instructions  he  made  great  proficiency.  He  went  to  Italy,  and 
endeavored  to  emulate  Michael  Angelo,  but  only  succeeded  in  being  extrava- 
gant. He  had  a  ready  invention,  and  was  a  bold,  rather  than  an  accurate 
designer. 

176.  Diana  of  Poictiers,  as  Juditli  witli  tlie  Head 
Holofernes. 

Judith  is  about  to  place  the  head  of  Holofernes  in  a  sack, 
which  is  held  by  her  nurse.  She  is  dressed  in  a  flaunting 
blue  tunic,  and  wears  a  gaudy,  jewelled  cap.  The  face, 
though  wanting  in  relief,  and  feeble  in  color,  gives  us  the 
idea  of  a  beautiful  woman  ;  and  the  arm,  though  much  too 
short,  and  put  on  the  body  without  the  intervention  of  a 
shoulder,  was  evidently  painted  from  a  fine  model.  The 
head  of  the  old  nurse  has  much  character.  After  the  fashion 
of  the  very  early  painters,  both  figures  appear  utterly  uncon- 
cerned in  the  action  in  which  they  are  engaged. 

*^*  The  ornaments  in  gold,  and  precious  stones,  are  from  the 
compositions  of  the  celebrated  Benvenuto  Cellini. 

POUSSIN  (NICHOLAS.) 

Nicholas  Poussin  was  born  in  Normandy,  in  1594,  of  a  noble  family.  He 
studied  first  with  Quintin  Varin.    His  next  studies  were  directed  by  some 


FEENCH   SCHOOL.  105 

prints  after  Raphael  and  Giulio  Romano,  whose  works  he  was  at  last  enabled 
to  study  in  Rome  itself,  and  the  first  of  whom  was  his  model.  He  had  attained 
such  eminence  in  1639,  as  to  be  invited  to  return  to  France  by  Louis  XFII. 
himself.  He  went,  but  soon  returned  to  Rome,  where  he  passed  the  remainder 
of  his  life  in  the  tranquil  and  successful  pursuit  of  his  art.  He  is  distinguished 
by  the  pleasing  correctness  of  his  composition,  the  purity  of  his  forms,  and  the 
great  knowledge  of  classic  art  and  literature  which  his  works  display.  He  has 
been  called  '■•le  peintre  des  gens  (Tesprit,  the  most  complete  of  all  artistic  minds, 
though  not  the  most  interesting."  His  color  was  feeble,  save  in  his  landscapes. 
He  was  a  prolific  painter.    He  died  in  I660. 

111.  The  Eepose  in  Egypt. 

Joseph  and  the  Virgin  sit  at  the  foot  of  a  clump  of 
trees,  only  the  trunks  of  which  are  seen.  The  Child  lies 
upon  the  Mother's  lap  in  all  the  thoughtless  abandonment 
of  infancy.  In  the  distance  is  a  mountainous  landscape.  The 
head  of  the  Child  will  strike  every  one  acquainted  with  the 
works  of  PoussiN,  as  identical  in  type  with  that  which  ap- 
pears in  his  most  famous  Holy  Families.  The  attitude  of 
the  Virgin  is  remarkable,  not  only  for  its  graceful  dignity, 
but  for  its  perfect  expression  of  the  fact  that  she  is  listening 
calmly  but  intently  to  the  naiTative  which  Joseph  is  evid- 
ently relating.  His  arm  and  hand  are  also  admirable  in  pos- 
ition and  in  foreshortening.  The  landscape,  though  not 
highly  finished,  is  grandly  composed  ;  and  upon  it  the  twi- 
light of  dawn  is  made  to  fall  with  sweet  solemnity. 

178.  Tlie  Daughter  of  Pharaoli  about  to  batlie  in 
the  Nile. 

Two  attendants  are  about  to  disrobe  the  Princess ;  a 
third  kneels  at  her  feet  with  a  vase  of  anointing  oil.  Before 
her  is  a  figure  emblematic  of  the  liver.  The  group  is  finely 
composed,  and  the  forms  and  attitudes  are  simple  and  chaste 
almost  to  statuesqueness. 

*«*  Both  these  pictures  display  the  knowledge  of  form,  the  clas- 


106  BRYAN    GALLERY. 

sical  taste,  and  the  feebleness  of  color  which  are  characteristic  of 
the  Master.  Tliis  vigorous  sketch  is  in  the  best  manner  of  Poussix, 
and  was  formerly  in  the  collection  of  the  M.  de  St.  Aubin. 

179.  Classic  Landscape. 

The  foreground  is  in  deep  shadow.  A  road  by  the  side 
of  a  brook  passes  through  it.  A  little  to  the  left,  three  trees 
stand  close  together ;  under  them  is  a  figure  in  a  Greek  tunic. 
In  the  first  distance,  upon  which  the  light  falls,  a  group  of 
figures  dance  before  the  statue  of  a  sylvan  deity.  Farther 
on,  a  procession  enters  a  small  temple  half  hid  by  trees.  Be- 
yond, is  a  cluster  of  large  buildings  and  an  obelisk.  Precipit- 
ous hills  close  the  scene.  The  composition  of  this  landscape 
is  equally  indicative  of  classic  taste,  fine  imagination,  and 
masterly  power  of  combination.  The  forms  of  the  trees  are 
remarkably  true,  unconstrained  and  beautiful. 

POUSSIN  (GUASPRE.) 

GuAspRK  DuGHKT  was  bom  at  Rome,  of  a  French  family,  in  1613.  He  became 
tbe  pupil  of  NicoLO  Pocssin,  who  had  married  his  sister,  and  from  these  circum- 
stances he  received  the  name  ofPocssiN.  Guided  by  the  counsels  of  his  brother- 
in-law,  and  influenced  by  the  example  of  Claude,  he  became  one  of  the  greatest 
of  landscape  painters.  The  fertility  of  his  invention,  and  the  vigor  and  freedom 
of  his  touch,  are  without  a  parallel  in  the  history  of  this  department  of  the  art.  He 
always  conveys  an  expression  of  power  and  grandeur,  even  in  his  smallest 
pictures.    He  died  at  Rome  in  1675. 

180.  Landscape. 

A  brook  in  the  foreground  flows  at  the  foot  of  a  rocky 
hill,  which  rises  into  the  distance,  and  completes  the  picture. 
Upon  the  hill  is  an  extensive,  ruined  building.  The 
rays  of  the  setting  sun  partially  light  up  the  large,  heavy 
clouds,  which  nearly  fill  the  heavens.  The  broken  fore- 
ground of  this  picture  has  an  air  of  fidelity  which  gives  it 


FRENCH   SCHOOL.  107 

the  appearance  rather  of  a  transcript  from  nature  than  of  a 
composition. 

181.  Landscape. 

A  level  country,  shut  in  by  low,  irregular  hills.  In  the 
foreground,  three  small  trees.  The  time,  dawn.  These  two 
companion  pictures,  though  small,  are  grand  in  style,  and 
convey  an  impression  of  power.  The  skies  are  remarkably 
truthful  and  beautiful,  both  in  tone  and  in  the  forms  of  the 
clouds. 

182.  Grand  Landscape.     Hagar  in  tlie  Desert. 

From  a  rugged  foreground,  in  which  are  the  figures 
which  give  the  name  to  the  picture,  the  eye  passes  beyond 
a  clump  of  trees,  with  thick  and  heavy  fohage,  upon  the  right, 
to  a  broad,  open  plain,  on  which  are  some  large  buildings- 
A  range  of  mountains  shuts  out  the  horizon.  In  spite  of  the 
buildings,  and  of  the  road  on  the  right  and  the  cattle  under 
the  trees,  the  gloom  and  sadness  of  the  desert  fills  the  can- 
vas. 

*^*  This  picture,  which  has  been  engraved,  is  in  the  finest  man- 
ner of  the  Master.  The  figures  are  by  Philippe  Lauri.  It  is  from 
the  collection  of  the  Marshal  Sebastiani. 

CLAUDE  LORRAINE. 

Claude  Gklkk,  called  Lorraink,  was  born  at  Charaagne,  in  Lorraine,  in 
1600.  His  parentage  was  obscure,  and  his  first  preceptor  was  his  brother,  an  en- 
graver on  wood,  to  whom  he  went  after  the  death  of  his  father,  which  happened 
when  he  was  twelve  years  old.  His  next  master  was  Godfrey  Waal,  of  Naples, 
with  whom  he  remained  two  years,  and  whom  he  lett  to  place  himself  under  the 
tuition  of  Agostino  Tasso,  at  Rome.  A  journey  through  Italy,  the  Tyrol,  and 
the  southern  part  of  France,  undertaken  in  his  twenty-sixth  and  twenty-seventh 
years,  filled  his  creative  mind  with  rich  stores  of  observation :  at  thirty  years 
of  age  he  was  the  greatest  landscape  painter  the  world  had  seen ;  and  hia 
posthumous  fame   is   without   a   rival.    His  works   exhibit   the  fruits  of  the 


108  BRYAN   GALLERY. 

most  careful  study  of  the  efifects  of  nature ;  yet  they  are  not  transcripts  of  nature, 
but  ideal  compositions  of  the  highest  class.  He  was  not  less  eminent  as  a  ma- 
rine than  as  a  classical  painter ;  and  architecture  received  no  small  share  of 
ihis  attention.  He  is  preeminent  as  a  painter  of  sunlight  and  atmospheric 
effect.    He  died  of  gout,  in  1682. 

183.  Landscape,  with  Figures. 

In  the  foreground  are  three  herdsmen  ;  just  beyond  them, 
and  between  two  clumps  of  trees,  are  two  of  their  com- 
panions and  the  cattle  which  they  watch.  A  river,  broken 
by  two  falls,  separates  the  foreground  from  the  middle  dis- 
tance, which  is  filled  by  a  broad  meadow  bordered  by  a 
wood,  from  which  the  eye  is  led  to  hills  and  mountains  which 
close  the  scene.  The  sky  is  almost  filled  with  hazy  clouds. 
This  landscape  is  in  the  early  manner  of  the  Master,  who  at 
first  made  his  foregrounds  dark,  and  his  distances  of  a  cool, 
blue  tint.  The  peasants,  in  the  foreground,  are  designed  af- 
ter DoMENicHiNO ;  but  the  figure  who  leans  against  a  tree, 
in  the  shadow  on  the  left,  and  plays  upon  a  pipe,  is  all 
Claude.  Claude  was  so  conscious  of  the  want  of  merit  in 
his  figures,  he  used  to  say  that  he  sold  his  landscapes  and 
gave  away  the  people  in  them. 
*^*  Collection  Marshal  Sebastiani. 

184.  Landscape,  witli  a  Sea  View. 

"VVe  look  seaward  from  the  shore  of  a  little  bay.  In  the 
distance  is  a  ship.  A  large  barge  lies  near  the  beach,  upon 
which  are  several  figures.  A  castle  stands  at  the  foot  of  a 
bold  promontory  in  the  middle  distance.  This  picture  is  in 
the  matured  manner  of  the  Master.  The  foreground  is 
bathed  in  yellow  light,  which  gilds  the  innumerable  little 
waves  which  kiss  the  shore.  The  distance  and  the  sky  have, 
unfortunately,  been  much  injured. 


FEENCn    SCHOOL.  109 

184.  (A.)     Landscape. 

In  the  foreground  is  a  herdsman  watching  three  cows,  upon 
the  side  of  a  gently  flowing  river.  Beyond  is  a  hill,  upon  which 
is  a  castle.  This  little  sketch  is  also  in  the  first  manner  of 
the  Master. 

MIGNARD. 

PiERRB  MioNARD  was  bom  at  Troyes,  in  IGIO,  and  showed  precocious  talent 
for  painting.  His  first  instructor  was  Jean  Boucher,  of  Bruges,  whom,  after 
two  years,  he  left  for  Simon  Volet.  But  Rome  was  the  principal  scene  of  his 
study  and  his  labor.  He  lived  there  twenty-two  years.  The  works  of  Raphakl 
and  GciDo  were  the  chief  objects  of  his  contemplation;  but  he  attained  only 
to  correctness  of  design,  a  pleasing  manner,  and  harmonious  color,  without 
marked  originality.    He  died  at  Paris,  in  1695. 

185.  Portrait  of  a  Lady  at  Iter  Toilet. 

A  lady,  in  the  costume  of  the  time  of  Louis  XIV.,  sits 
before  a  toilet-table,  combing  her  curled  tresses.  The  color 
is  truthful  and  pleasing ;  the  arms  and  hands,  though  too  fat 
for  elegance,  are  well  modelled,  and  the  costume  is  carefully 
painted. 

186.  Holy  Family. 

The  infant  Christ,  encircled  by  his  mother's  arms,  sits 
upon  the  base  of  a  fallen  pillar,  and  points  to  a  serpent,  which, 
with  an  apple  in  its  mouth,  encircles  the  world.  Joseph 
leans  from  behind,  and  directs  his  attention  to  a  flaming 
cross  in  the  heavens.  The  flesh  tint  is  rich  and  warm,  and 
the  figure  of  the  child  very  correctly  designed. 

.     LE  SUEUR. 

EusTACHE  Le  Suecr  was  born  at  Paris,  in  1G17.  Ho  was  the  son  of  an  ob- 
scure sculptor,  who  placed  him  in  the  studio  of  Simon  Voukt.  His  style, 
however,  was  formed  by  the  study  of  the  classic  statues  and  paintings  of  the  Ro- 


110  BRYAN    GALLERY. 

man  School  in  Paris ;  and  such  was  the  nobility  and  simplicity  of  his  composi- 
tions, the  purity  of  his  forms,  and  the  grandeur  of  his  draperies,  that  he  received 
the  appellation  of  the  French  Raphael.    He  died  in  1G55. 

187.  The  dead  Clirist  supported  by  the  Virgin. 

The  Lead  of  Christ  rests  upon  the  knees  of  his  mother, 
who  sits  upon  the  ground,  and  looks  heavenward  with 
gestures  of  despair.  A  weeping  cherub  *on  the  left  has 
removed  the  cro^^Ti  of  thorns ;  another,  kneeling,  kisses  the 
left  hand  of  Christ.  In  the  body  of  Christ  the  forms  are 
very  noble,  and  the  anatomy  excellent.  The  face  of  the 
Virgin  is  of  a  fine  type,  but  lacks  a  just  expression  of  grief. 

*:,,*  From  the  collection  of  the  Abbe  Genoud. 

LE  BRUN. 

Charles  Le  Brum,  the  son  of  a  sculptor,  was  born  at  Paris,  in  1619,  and  be- 
came the  pupil  of  Simon  Vouet.  He  studied  in  Italy,  and  returned  to  Paris  to 
be  appointed  first  painter  to  the  King.  He  possessed  a  fertile  imagination,  and 
had  complete  command  of  the  mechanism  of  his  art.  His  compositions  are 
spirited,  and  the  individual  figures  very  correctly  drawn.  He  died  at  Paris,  in  1690. 

188.  Portrait. 

The  portrait  of  a  young  man  of  a  swarthy  complexion  and 
thick,  black,  flowing  hair.  The  features  are  large,  but  pleasing 
and  manly  in  their  expression,  and  the  eyes  are  full  of  intelli- 
gence.    The  head  is  fine  in  modeUing  and  color. 

*^*  Collection  Par.\xt. 

COURTOIS. 

Jacques  Courtois,  called  il  Borgognone,  was  born  in  the  Francbe  Comtc, 
in  1621.  From  his  father,  an  obscure  painter,  he  learned  the  elements  of  the  art, 
which  he  put  in  practice,  during  a  three  years'  military  service,  by  sketching 
battles,  skirmishes,  marches,  and  the  like.  Quitting  the  army,  he  learned  much 
in  his  art  from  GciDo  and  Albano,  whose  acquaintance  he  formed  in  Bologna. 
He  at  first  attempted  historical  works,  but  soon  abandoned  himself  to  the  paint- 
ing of  battle  pieces,  in  which  he  is  without  a  rival  for  spirit,  vigor,  and  the 


FRENCH   SCHOOL.  Ill 

expression  of  tumultuous  movement.    It  is  to  be  regretted  that  the  shadows  of 
his  pictures  have  sunk  and  blackened.    He  died  at  Home,  in  1676. 

189.  Battle  Piece. 

190.  Battle  Piece. 

Descriptions  of  battle  pieces,  like  descnptions  of  battles, 
rarely  accomplish  more  than  the  utter  confounding  and  con- 
fusion of  the  reader ;  and  therefore  the  visitor  is  left  to  study 
out  alone  the  composition  of  these  very  spirited  sketches,  in 
which  there  is  more  movement  and  tumult  than  it  would 
seem  possible  to  express  in  so  small  a  space. 

LE  FEVRE. 

Ci.ACDK  LE  Fkvrk  was  bom  at  Fontainbleau,  in  1633.  He  was  successively  the 
scholar  of  Lk  Sukur  and  Lk  Brcn.  He  distinguished  himself  as  a  portrait  painter, 
by  ability  to  seize  a  likeness,  correct  drawing,  and  pleasing  color.  He  died  at 
London,  in  1675. 

191.  Portrait  of  Puget,  the  Frencli  Sculptor. 

He  holds  the  model  of  a  cylindrical  bas-relief.  The  head 
is  national  in  its  characteristics,  full  of  inteUigence,  and 
painted  with  a  free  and  spirited  touch. 

*jt*  Collection  Gen.  d'Espinoy. 

DE  LA  FOSSE. 

Charles  de  la  Fosse  was  born  at  Paris,  in  1G40.  He  studied  with  Le  Brum, 
and  having  taken  the  academy  prize,  w.is  sent  to  Italy.  Here,  becoming  enamored 
of  the  works  of  Titian  and  Paolo  Veronese,  he  made  himself  one  of  the  best 
colorists  of  his  day,  and  of  the  French  School.  He  was  not  wanting  in  imagina- 
tion, and  composed  with  great  spirit ;  but  his  design  was  sometimes  inelegant  and 
incorrect.    He  died  at  Paris,  in  1716. 

192.  Christ   in  the  Wilderness,  ministered  to  by 

Angels. 

Christ,  seated  upon  a  bank,  looks  heavenward,  absorbed 


112  BRYAN    GALLERY. 

in  contemplation.  Before  him  is  a  group  of  seven  angels ; 
some  bringing  fruits,  and  some  in  attitudes  of  adoration.  A 
fine  composition,  full  of  grace  in  the  forms  and  spirit  in  the 
attitudes  ;  very  pleasing  and  harmonious  in  color. 

*^*  This  picture  was  formerly  in  the  collection  of  Cardinal 
Fesch.  After  its  arrival  in  Paris,  in  the  possession  of  the  present 
proprietor  it  was  demanded  for  the  Gallery  of  the  Louvre. 

JOUVENET. 

Jean  Jouvenkt,  descended  from  a  family  of  painters,  was  born  at  Rouen,  in  1644. 
He  received  his  first  instructions  from  his  father,  and  perfected  himself  in  the  art, 
in  Paris.  He  was  one  of  the  most  distinguished  painters  of  his  day.  His  design 
is  correct;  his  pencil  decided  and  vigorous;  his  attitudes  are  well  chosen,  and  his 
draperies  well  cast.    His  color  is  somewhat  feeble.    He  died  at  Paris,  in  1717. 

193.  \    Scenes  from  tlie   Life   of  St.  diaries   de 

194.  )  Borromeo. 

The  first  of  these  sketches  represents  Charles  laying 
aside  his  ducal  coronet  and  robes,  and  receiving  the  monk's 
cowl  and  frock  :  the  second  shows  him  working  one  of  those 
miracles  which  placed  him  among  the  canonized  saints  of  the 
Roman  Church.  Both  are  full  of  spirit,  and  display  great 
knowledge  of  form  and  composition.  The  drawing  of  the 
nude  figures  is  bold,  but  sometimes  exaggerated. 

DE  LARGILLIERE. 

Nicholas  de  La.rgillierk  was  born  at  Paris,  in  1656.  He  studied  his  art  in 
Antwerp,  under  Francis  Gobeau,  a  painter  of  landscapes  and  still  life.  He 
painted  many  portraits  of  personages  of  high  rank,  both  at  the  English  and 
French  courts.  His  coloring  is  rich  and  pure ;  but  his  drawing  is  not  always  cor- 
rect.   He  died  at  Paris,  in  1746. 

195.  Portraits  of  two  Ladies. 

The  principal  figure  reclines  in  front,  caressing  a  spaniel. 


FRENCH   SCHOOL.  113 

Altbough  in  the  loose  silk  and  satin  robes  of  the  time  of 
Louis  XIV.,  she  is  represented  as  Diana  ;  but  it  is  safe  to 
look  in  her  face  and  say,  that  her  crescent  and  her  dogs  are 
all  she  has  in  common  with  the  goddess  of  chastity.  Behind 
her,  an  attendant, — evidently  the  worthy  Calisto  to  such  a 
Diana^ — in  the  powdered  hair  and  costume  of  Louis  XV., 
hangs  up  her  bow  and  quiver.  Aside  from  the  sentiment  of 
this  picture,  it  is  admirable  in  all  its  parts ;  the  spirited 
attitudes  of  the  heads  and  limbs,  the  rich,  clear  tint  of  the 
flesh,  the  characteristic  types  of  the  heads,  the  draperies,  and 
the  spirited  figure  of  the  dog,  combine  to  make  it  a  perfect 
work  in  its  kind. 

*jt*  This  picture  was  also  sought  from  the  proprietor,  for  the 
Gallery  of  the  Louvre. 

RIGAUD. 

Hyacinthe  Rigaud  was  born  at  Perpignan,  on  the  20th  of  July,  10.59.  It  is 
not  known  with  whom  he  studied,  but  he  became  the  most  eminent  of  the  por- 
trait painters  of  France.  He  has  with  justice  been  calle<l  the  French  Vandtkb. 
His  heads  are  finely  modelled  and  full  of  character,  and  his  tints  are  fresh  and 
lively.  He  finished  highly,  without  an  appearance  of  labor.  He  was  a  wit  as  well 
as  painter.  He  did  not  like  to  paint  women,  "  for,"  said  he,  "  if  I  paint  them  as 
they  are,  they  think  the  portraits  not  handsome  enough :  if  I  flatter  them,  the 
portraits  are  not  like."  A  lady  complaining  that  he  did  not  use  a  color  fine 
enough  to  paint  her  cheek,  the  bloom  on  which  was  borrowed,— "  Madam,"  he 
replied,  "  my  vermilion  cannot  possibly  be  bad,  for  we  both  deal  at  the  same 
shop."  It  was  he  also  who  told  the  lady  who  endeavored  to  make  her  mouth  as 
small  as  possible,  not  to  trouble  herself,  for  if  she  wished,  he  would  paint  her 
without  any  mouth  at  all.    He  died  in  December,  1743. 

196.  Portrait  of  a  Marshal  of  France. 

The  Mai-shal  is  in  full  armor,  and  wears  a  large,  full-bot- 
tomed wiof.  In  the  lineaments  of  the  countenance,  as  well  as 
the  details  of  the  costume,  this  portrait  is  remarkably  char- 
acteristic of  the  time  of  Louis  XIV. 

*^*  From  the  Collection  Viex.  It  is  a  very  fine  specimen  of  the 
Master. 


114:  BKYAN    GALLERY. 

WATTEAU. 

Antoink  Wattkau  was  born  at  Valenciennes,  In  1684,  of  very  poor  parents. 
He  first  painted  the  panels  of  coaches,  then  became  a  scene  painter,  struggling 
always  with  extreme  poverty.  A  painter  of  grotesques,  named  Claude  Gillot? 
became  acquainted  with  and  befriended  him  ;  and  thence  dates  his  success.  He 
painted  ball?,  masquerades,  gallant  and  pastoral  subjects.  His  works  are 
remarkable  for  gracefulness  in  the  figures,  ease  of  composition,  and,  above  all, 
splendor  of  color.    He  died  in  1721. 

19?.  Musicians. 

Two  young  men  sit  upon  a  bank ;  one  plays  the  bag- 
pipes, the  other  the  flute-a-bec.  Beyond  is  a  hilly  country, 
slightly  sketched.  The  color  is  very  warm,  rich  and  har- 
monious. This  picture  is  evidently  cut  from  a  large  and  im- 
portant work. 

198.  Landscape,  witli  Figures. 

In  the  foreground,  two  boys  attempt  to  lift  a  girl,  so  that 
she  may  reach  some  grapes  which  hang  upon  a  tree,  upon 
which  the  vine  is  trained.  On  the  other  side,  a  woman 
gathers  flowers.  This  is  but  a  sketch,  in  the  style  of  Gior- 
GioNE.     The  color  is  wonderfully  rich  and  juicy. 

PATER. 

Jean  Baptiste  Patkr  was  born  at  Valenciennes,  in  1695.  He  became  a  pupil 
of  VVatteau.    His  color  is  good,  but  his  design  incorrect.    He  died  in  1736. 

199.  Landscape,  witli  Figures. 

In  the  foreground  is  a  group  of  peasants  and  cows,  on  the 
bank  of  a  brook.  In  the  distance  is  an  old  chateau,  which 
stands  on  the  farther  side  of  a  broad  meadow,  upon  which 
cattle  are  pasturing.  A  pleasant  composition,  and,  though 
slightly  painted,  with  fine  aerial  perspective.  The  color, 
thouirh  feeble,  is  not  untruthful. 


FRENCH    SCHOOL.  115 

'    BArroNi. 

PoMPEo  Battoni  was  born  at  Lucca,  in  1708.  It  is  not  known  with  whom  he 
atudied.  His  pleasing  color,  End  the  agreeable  air  of  his  heads,  won  him  favor, 
although  he  had  not  much  academic  skill.  He  died  at  Rome,  in  1787.  His  birth 
and  education  would  seem  to  give  him  a  place  in  the  Italian  School ;  but  all  his 
characteristics  are,  nevertheless,  decidedly  French. 

200.  Portrait  of  the  Cardinal  de  Eocliecliouart. 

The  cardinal,  in  the  full  dress  of  his  order,  stands  by  a 
table,  on  the  verd-antique  marble  top  of  which,  are  writing 
materials.  In  his  right  hand  is  his  scarlet  cap,  in  his  left  a 
book.  The  face  is  one  of  great  intelligence  and  self-com- 
mand. The  hands  are  beautifully  modelled  and  painted,  and 
the  texture  of  the  drapery  very  finely  expressed.  The  lace 
is  a  marvel  of  laborious  exactness. 

%*  From  the  Chateau  Coureelle,  the  seat  of  the  Cardinal's 
family. 

201.  Small  Portrait. 

The  head  of  a  boy,  sweetly  colored,  and  highly  finished. 
He  wears  a  pilgrim's  costume,  and  cames  a  staff  in  his  right 
hand. 

CHARDIN. 

202.  StiU  Life. 

The  viands  for  a.  jour  maigre  under  the  rule  of  the  Church 
of  Rome.     They  are  painted  with  great  fidelity. 

SCHOOL  OF  GREUZE. 

203.  Portrait  of  Louis  XVII.,  Dauphin. 

He  is  represented  as  seven  or  eight  years  old.     He  wears 
8 


116  BRYAN    GALLERY. 

a  blue  scarf.  The  color  is  gray  and  feeble,  but  the  head  bears 
the  impress  of  truth.  This  picture  has  acquired  an  interest 
additional  to  its  merits,  from  the  recent  discussion  as  to  the 
fate  of  the  Dauphin,  who  is  confidently  believed  by  many  to 
be  yet  Hving,  and  in  this  country.  A  comparison  of  this 
portrait  "with  the  gentleman  supposed  to  be  Louis  XVII., 
shows  as  much  likeness  betwe^  them  as  there  can  be 
between  a  boy  and  an  elderly  man. 

*^*  From  the  collection  of  M.  de  Mont  Lens,  a  devoted  legi- 
timist, who  died  at  a  very  advanced  age,  in  1850.  In  the  catalogue 
of  M.  DE  MoxT  Louis,  this  picture  is  entered  as  of  the  school  of 
Greuze.     It  bears  much  resemblance  to  the  works  of  Chardin. 

ROBERT. 

HuBER  Robert  was  born  at  Paris,  in  1733.  He  studied  both  in  Paris  and 
Rome.  He  painted  views  with  architecture,  aad  endeavored  to  blend  the  styles 
of  Pannini  and  Joseph  Vkrnet. 

204.  Park  of  St.  Cloud. 

A  slight  but  very  spirited  sketch  of  this  magnificent  plea- 
sure ground. 

VERNET. 

Clattde  Joseph  Vernet  was  born  at  Avignon  in  1712.  He  went  to  Rome, 
and  became  the  pupil  of  Adrian  Manglard.  His  pictures  are  highly  prized  by 
most  collectors.  They  are  generally  marine  views  of  landscapes  by  river  sides. 
He  was  employed  by  Louis  XV.  to  paint  a  series  of  the  ports  of  France.  He  was 
the  father  of  the  celebrated  painter  Antoise  Charles  Horack  Vernet,  who 
was  the  father  of  the  great  Horace  Vernet  of  our  own  day,  who  is  the  father-in- 
law  of  Paul  de  la  Rochk.    Joseph  Vernet  died  in  1789. 

205.  Italian  Scenery,  with  Figures. 

In  the  foreground  are  groups  of  women  washing  clothes 
in  a  river,  which  flows  through  rocks  and  the  heavy  masonry 
of  some  ancient  work.     The  horizon  is  shut  out  by  a  rising 


FRENCH    SCHOOL.  117 

ground,  on  which  is  seen  a  castellated  gateway.  The  foliage 
is  finely  relieved  against  the  sky,  but  the  picture  is  crude  in 
color,  and  wanting  in  atmospheric  effects. 

*^*  Painted  by  the  artist  for  his  friend  Balthazar,  the  architect, 
rom.  whose  collection  it  came.  It  is  a  fair  specimen  of  an  over- 
rated Master. 

206.  Baia,  by  Moonlight. 

In  the  foreground  is  a  boat  moored  by  the  shore,  on  which 
figures  are  grouped  round  a  fire.  The  ruins  of  an  ancient 
mole  stretch  from  a  building  partly  seen  on  the  right,  far  into 
the  bay.  The  moon  is  just  emerging  from  heavy  clouds. 
The  light  is  very  truthfully  represented  :  in  other  respects 
the  picture  is  not  very  interesting. 

TOURNIERE. 

Robert  Tournikrk  was  born  at  Caen,  in  1676.  He  studied  in  Paris  with 
Bon  Boullonquk.  He  painted  history  and  portrait  a  little;  but  preferred  to 
imitate  the  style  and  choose  the  subjects  of  Douw  and  Schalkkn.  Hedi  ed  at 
Caen,  in  1752. 

207.  Portrait  of  a  Receiver  General. 

His  receivership,  magnificently  dressed  in  the  fashion  of 
Louis  XV.,  stands  by  a  table,  holding  in  a  most  dainty  and 
receiver-like  manner,  a  letter  between  the  forefinger  and 
thumb  of  his  right  hand.  It  is  richly  colored,  and  highly 
finished. 

GREUZE. 

Jean  Baptiste  Greuze  was  born  at  Tonneins,  in  1726.  His  manner,  and 
particularly  the  style  of  his  heads,  is  eminently  French.  His  design  of  the  figure 
is  very  correct,  and  his  color  remarkable  for  a  tender  richness  of  tone.  He  was  a 
painter  of  sentiment,  and,  unfortunately,  fell  sometimes  into  sentimentalism.  His 
best  works  are  pictures  of  nymphs,  and  the  heads  of  young  girls  in  the  inno- 
cence of  early  maidenhood;  but  some  of  his  scenes  of  the  tragedy  of  domestic 


118  BRYAN    GALLERY. 

life  are  deeply  touching,  and  full  of  tragic  power.    All  his  pictures  bear  a  very 
high  price.    He  died  at  Paris,  in  1805. 

208.  A  JSFympli  of  Diana. 

A  girl  in  tlie  early  bloom  of  maidenly  beauty,  sits  npon  the 
sea-shore,  holding  in  her  left  hand  a  shell  and  a  branch  of 
coral.  Her  head  is  crowned  with  lam-el.  She  looks  out  of 
the  picture  over  her  left  shoulder.  Her  sandals,  a  leopard's 
skin,  and  a  quiver  of  arrows  lie  near  her.  Nothing  could  be 
more  imbued  with  the  pure  spirit  of  virginal  modesty  than 
this  entirely  naked  figure.  Compare  it  with  the  Diana  and 
Nymph  by  De  Largilliere,  No.  195.  They  are  draped 
and  coiffed  ;  yet  so  unchaste,  that  this  maiden  in  her 
unveiled  loveliness  would  blush  to  look  at  them.  Her  figure 
is  exquisitely  formed  ;  round  and  full,  yet  lithe  and  supple , 
as  becomes  the  votaress  of  the  virgin  huntress.  The  type  of 
the  face  is,  perhaps,  a  little  too  dreamy  for  a  nymph  of  the 
chase ;  but  we  can  forgive  that  for  its  intrinsic  beauty.  It  was 
not  in  Greuze's  nature  to  paint  a  naked  female  Nimrod, — 
a  Lady  Gay  Spanker  without  i-iding  robe  and  et  ceteras. 
We  admire  in  this  picture  the  exquisite  tone  of  the  flesh,  the 
careful  and  accurate  modelling  of  the  figure,  the  clear  chia- 
roscuro,  in  which  the  local  color  is  perfectly  preserved,  and 
the  disposition  of  the  limbs,  which  are  so  skilfully  arranged 
that  all  the  beauties  of  the  form  are  displayed  with  grace 
and  heightened  with  modesty.  It  is  a  work  of  rare  and 
peculiar  beauty. 

209.  Portrait  of  tlie  Due  de  Choiseul. 

The  duke  was  the  patron  of  Greuze.  He  is  represented 
in  a  rich,  peach-blossom  coat,  laced  cravat  and  powdered 
hair.     The  duke  was  certainly  no  beauty  ;  and  his  protege 


FRENCH    SCHOOL.  119 

dared  to  make  his  canvass  tell  the  truth.     The  head  is  finely 
colored. 

*^*  From  the  collection  of  Paraxt,  who  painted  on  porcelain 
tlie  heads  of  the  celebrities  of  France.  This  head  was  probably 
procured  for  that  purpose. 

210.  Head  of  a  Young  Girl. 

A  young  girl,  with  her  hair  drawn  back  from  her  fore- 
head, raises  her  finger  with  an  expression  of  merry  warning. 
The  bright,  strong  tints  show  the  influence  of  the  study  of 
Rubens  upon  the  Master. 

211.  Virginie.     (A  study.) 

The  painter  has  represented  the  head  and  bust  of  Vir- 
ginie in  a  position  which  evidently  shows  that  her  hands  are 
clasped  upon  her  knees  as  she  looks  up  in  a  transport  of  af- 
fection. Her  hair  falls  dishevelled  upon  her  shoulders.  A 
more  characteristic  specimen  of  Greuze's  sentimental  style 
could  hardly  be  found.  As  usual  with  this  Master's  works, 
the  flesh  tints  and  the  chiaroscuro  command  our  admiration. 
It  is  worth  while  to  notice  here  the  power  possessed  by 
Greuze,  of  painting  single  figures  with  the  mouth  open, 
without  making  them  ridiculous.  Only  two  or  three  other 
painters,  Sir  Thomas  Lawrence  among  them,  share  this 
ability  with  him. 

212.  SketcL.  of  a  Female  Head. 

A  young  girl  looks  up  with  an  expression  of  ecstatic 
hope.  This  sketch  is  highl]^  interesting,  as  it  shows  the 
Master's  manner  of  painting  his  heads:  putting  them  in  at 


120  BKYAN    GALLERY, 

first  in  strong  opaque  color,  over  which  he  laid  soft  and  more 
transparent  tints. 

*^*  The  celebrated  miniature  painter  Saint  purchased  this  sketch 
at  the  sale  of  Greuze's  own  collection  after  his  death. 

LEPICIER. 

Nicolas  Bernard  Lepicier  was  bom  in  1735.  lie  was  first  taught  the  art 
of  engraving  by  his  father,  but  abandoned  it  for  the  pallet  and  the  easel.  He  stud- 
ied with  Gael  Vanloo.    He  painted  in  many  styles.    He  died  in  1784. 

213.  The  Sister. 

A  young  girl,  who  wears  a  Charlotte  Corday  cap,  sits 
in  a  chair,  looking  down  with  an  air  of  tender  sympathy. 
The  inspiration  of  this  picture  is  evidently  drawn  from 
Greuze. 

PRUD'HOK 

Pierre  Paul  Prud'hon,  one  of  the  most  eminent  of  French  painters,  was 
born  at  Clugny,  in  the  year  1768.  He  first  studied  with  Devogks,  and  after- 
ward at  Rome,  where  he  remained  until  1789.  His  works  are  remarkable  for 
elegance  and  correctness  of  design;  and  the  purity  of  his  color,  the  clearness  of 
his  chiaroscuro,  and  the  enchanting  grace  of  many  of  his  figures,  have  procured 
for  him  the  title  of  the  French  Corregio.  His  fancy  was  luxuriant,  and  his  taste 
purely  classic.  His  works  are  chiefly  historical,  classical,  and  allegorical.  He 
died  in  1823. 

214.  France  Triumpliant. 

It  would  he  difiicult  to  trace  out  the  connection  of  this 
complicated  allegorical  composition.  In  the  middle  of  the 
lower  part  of  the  picture  sits  France,  enthroned  upon  a  cloud. 
At  her  feet,  on  one  side,  is  Saturn,  a  figure  of  grand  pro- 
portions :  he  is  eating  one  of  his  children.  On  the  other 
side  are  the  Fates.  On  either  side  of  the  principal  figure, 
a  little  in  the  back  ground,  are  the  Muses.  A  winged 
figure  bearing  a  circle,  the  symbol  of  eternity,  connects  the 


FRENCH    SCHOOL.  121 

lower  with  the  upper  part  of  the  composition  in  which  three 
figures  sustain  an  enormous  wreath ;  while,  still  above,  a 
figure  on  one  side  bears  the  standards  of  France,  a  sword, 
and  a  Marshall's  baton  ;  and  on  the  other,  a  winged  Minerva 
bears  the  laurel,  which  crowns  the  whole.  We  hardly  know 
whether  to  admire  most,  the  grand  style  of  composition  in 
the  picture,  or  the  masterly  design  of  the  individual  figures. 
The  grouping  and  the  attitudes  show  inexhaustible  fertility 
of  resource,  and  an  imagination  able  to  create  endless  and 
ever-varying  forms  of  grace ;  and  in  the  whole  range  of  mod- 
em art,  there  are  few  figures  superior  in  power  to  that  of 
Saturn,  or  in  classic  grace  to  that  of  France,  and  the  Muse  of 
painting.  These,  however,  are  only  eminent  amid  a  host  of 
beauties.  A  composition  combining  power  and  grace  in 
such  a  high  degree,  has  rarely  been  produced  since  the  days 
of  the  gi-eat  painters  of  the  fifteenth  century. 

*^*  This  picture  is  the  finished  sketch  of  a  plafond  now  at 
Dijon,  the  birth  place  of  the  painter.  It  is  from  the  collection  of 
M.  ViEX,  artist.  The  proprietor  knows  of  few  finer  or  more  char- 
acteristic specimens  of  the  Master.  It  was  sought  of  him  by  the 
Director  of  the  Louvre,  for  that  Gallery. 

VERNET. 

Horace  Verset,  the  grandson  of  Joseph  Vernet,  and  the  son  of  Claude 
Vernet,  is  still  living.  He  is,  perhap?,  the  most  distinguished  painter  of  France^ 
His  battle  pieces  are  so  well  known  by  engravings,  that  a  description  of  his  stjlg 
is  needless  here. 

215.  Napoleon  at  Cliarleroi. 

Napoleon  stands  in  the  foreground,  with  a  map  of  the 
plain  of  Waterloo  lying  upon  a  ruined  wall  at  his  side.  Be- 
hind him  are  his  horse  and  a  group  of  officers. 

* .  *  This  little  picture  ornamented  the  private  study  of  Louis 
Phillippe. 


122  BRYAN    GALLERY. 

215.  (A)  The  Duke  of  Orleans  and  Ms  Huntsman. 

The  Duke  is  giving  orders  to  his  huntsman.  He  is  at- 
tended by  a  negro  page  and  two  greyhounds.  In  the  back 
ground  are  a  postchaise  and  horses. 

*^*  This  is  a  very  early  picture  of  the  Master;  but  certain 
points  about  the  horses  are  unmistakable.  One  of  the  post 
horses  in  the  back  ground  will  be  recognized  in  all  the  works  of 


Vern 


ET. 


TALLIN. 

Valun  was  a  scholar  of  Prudhomme.    We  know  nothing  else  of  him. 

216.  ISTymplis  and  Cupids. 

A  nymph  pours  water  playfully  upon  a  sleeping  com- 
panion. Three  cupids  look  laughing  on.  The  forms  are 
pleasing,  though  not  always  correct,  and  the  color  is  sweet 
and  warm. 

SCHAAL. 

ScHAAL  was  a  painter  of  some  distinction,  who  flourished  about  the  time  of 
the  French  Revolution.    He  painted  miniatures  as  well  as  easel  pictures. 

217.  Portrait  of  a  Lady,  as  a  Water  Nympli. 

She  is  dressed  in  the  costume  of  the  close  of  the  last  cen- 
tury, and  sits  resting  her  left  arm  upon  an  urn,  from  which 
water  flows.  The  picture  is  pleasing  in  expression  and  color. 
It  has  been  engraved  as  La  Belle  Source,  and  is  supposed 
to  be  the  portrait  of  the  wife  of  a  revolutionary  character  of 
some  note,  named  Source. 
*^*  From  the  Collection  Paeant. 

BOUCHER. 

Francois  Boucher  was  born  at  Paris,  in  1704.    He  was  a  pupil  of  the  cele- 
brated Le  Moink,  and  the  master  of  David.    Most  of  his  works  were  for  decora- 


FJJENCH   SCHOOL.  123 

tivo  purposes.  They  are  gracefully  composed,  dr^wn  with  remarkable  correctness, 
and  touched  with  a  light  and  spirited  pencil.  When  David's  formal  classical 
style  was  in  vogue,  it  was  also  the  fashion  to  decry  Boucher.  This  being  done 
in  David's  presence,  he  answered  it,  saying  "Not  every  one  can  be  a  BoncnER 
who  would." 

211.  Portrait  of  a  young  girl. 

A  girl,  just  blooming  into  womanliood,  sits  in  an  ann 
chair,  and  leans  back  her  bead  in  reverie.  She  wears  a  satin 
spencer  laced  in  front,  over  which  is  a  loose  gown  of  yellow 
silk.  The  color  of  this  picture  is  veiy  charming,  and  the  ex- 
pression naive  and  sweet.  It  is  more  highly  finished  than 
Boucher's  works  usually  are. 


MICHEL. 

Michel  died  recently  in  poverty.    A  painter  of  charming  landscapes,  which 
now  are  appreciated  and  highly  prized,|he  merited  a  better  fate. 

218.  LandscajDe. 

A  loaded  wain,  drawn  by  two  horses,  and  a  few  trees 
under  which  sits  a  figure,  occupy  the  foregTOund,  from  which 
a  level  countiy  stretches  into  the  distance.  A  very  truthful 
and  pleasing  landscape.  The  figures,  by  Swielbach,  are 
very  sphited. 

CHRYSEUNING.     • 

Chryseuning,  a  painter  of  repute  in  Belgium,  was  still  living  in  1845,  the  date 
of  this  picture.    He  was  a  scholar  of  Koekoek. 

219.  Landscape. 

A  cottage,  sheltered  by  stunted  trees,  stands  by  a  road 
side  on  the  right  of  the  picture.  On  the  right  is  a  grain 
field,  with  laborers.  The  view  to  the  horizon  is  over  a  flat 
country.  This  Httle  landscape  is  very  pleasing  in  its  compo- 
sition, and  is  filled  with  light. 


124  BRYAN  GALLEKY. 

VAN  DER  EYCKEK 

Van  Dkr  Eycken  is  still  living. 

:220.  Tlie  Inheritance. 

An  Interior.  An  old  peasant  sits  at  a  table  counting 
the  gold  and  silver  pieces  -which  he  has  found  hidden  away 
in  an  earthen  vessel.  His  wife  closely  examines  one  to  satisfy 
herself  of  its  genuineness.  Both  are  evidently  much  pleased 
with  their  occupation.  Their  daughter  sits  opposite,  eating 
a  frugal  meal.  The  light  is  admirably  disposed,  the  color 
rich,  the  heads  are  full  of  character,  and  the  details  painted 
with  great  fidelity. 

*jfc*  Painted  for  the  proprietor. 
OMMEGANCK. 

Balthasar  Ommkganck  was  bora  at  Antwerp,  in  1755.  He  studied  with 
Antonisskn.  He  attained  eminence  as  a  painter  of  landscapes  with  animala, 
principally  sheep  and  goats.  His  pictures  show  the  effect  of  a  close  and  docile 
study  of  nature.  His  animals  embody  the  characteristic  expression  of  their  spe- 
cies. He  received  very  large  prices  for  them,  and  since  his  death,  they  have 
risen  greatly  in  value.    He  died  at  his  native  place,  in  1826. 

221.  Landscape,  witli  Slieep. 

Two  sheep  by  the  bank  of  a  sluggish  stream,  which  flows 
through  a  meadow,  occupy  the  foreground.  One  is  reclin- 
ing ;  the  other  nibbles  the  leaves  from  the  tips  of  the  branches 
of  a  stunted  tree.  The  tone  of  the  picture  is  very  pleasing ; 
and  the  sheep,  to  which  the  rest  is  but  accessory,  are  marvels 
of  fidelity  and  knowledge.  How  much  of  the  character  of  the 
animal  is  embodied  in  the  head  of  the  one  which  is  lying 
down ! 

DYKEMANS. 

M.  Dykemans,  of  Antwerp,  is  a  living  painter  of  eminence,  whose  works  are 
80  highly  appreciated  in  Europe,  that  he  cannot  supply  the  demand  for  them. 
They  bear  incredibly  high  prices. 


MODERN   PAINTERS.  125 

222.  Portrait  of  an  old  Man. 

An  oldman,  clresse  d  in  black,  and  wearing  a  fur  cap,  sits 
in  a  high-backed  arm  chair.  The  head  is  boldly  modelled, 
and  the  light  sparkles  upon  its  rugged  surface.  The  hands 
are  only  sketched,  but  with  a  masterly  freedom. 

SULLY. 

Thomas  Sully  is  a  distinguished  artist  of  Philadelphia,  whose  name  and 
works  are  well  known  to  the  public. 

223.  Poi-trait. 

An  old  gentleman  sits  with  his  left  arm  leaning  on 
a  table.  He  holds  a  letter.  This  portrait  is  one  of  the 
happiest  efforts  of  Mr.  Sully.  The  style  is  large  and  free  ; 
and  there  is  a  truthfulness  in  the  sunny-toned  flesh  which  is 
of  rare  attainment. 

WEST. 

Mr.  W.  West  is  a  well  known  painter,  residing  in  New  York, 

224.  The  Confessional. 

A  young  lady  kneels  at  the  side  of  her  old  father-confessor^ 
in  a  dark  corner  of  a  cathedral.  The  light  falls  upon  them  from 
a  small  window.  The  effect  is  brilliant  and  judiciously 
managed.  The  head  of  the  fair  penitent,  which  must  strike 
every  one  by  the  beauty  of  its  type,  in  spite  of  some  stiffness 
in  the  outline,  and  hardness  of  the  flesh  tones,  is  a  portrait. 

BROWN. 

Mr.  George  L.  Brown,  a  landscape  painter,  is  a  native  of  Boston,  who  has  for 
some  time  been  living  in  Europe.  His  works  are  well  known  to  all  lovers  of 
American  art. 


126  BRYAN   GALLEBY. 

225.  Landscape. 

This  view  is  from  nature,  in  the  island  of  Capri  a,  Vesuvius 
being  seen  in  the  distance.  The  hght  upon  the  broken 
surface  of  the  rugged  hill,  which  occupies  most  of  the  canvas, 
is  disposed  with  admirable  skill ;  and  the  atmospheric  effects 
of  all  this  part  of  the  composition,  as  well  as  of  the  distance, 
are  very  fine.  Mr.  Brown's  coloring  is  rich,  and  when 
sobered  a  little  by  time,  will  be  much  admired. 


HOGARTH. 

William  Hogarth  was  the  son  of  a  schoolmaster,  and  was  born  in  1G98, 
His  first  instructions  in  drawing  were  received  during  his  apprenticeship  to  a 
silversmith,  where  he  was  set  to  engraving  arras,  &c.,  on  plate.  He  was  more 
distinguished  as  an  engraver  than  as  a  painter.  He  abounded  in  humor,  the 
satire  of  his  pencil  was  bitter,  and  his  power  of  expressing  character  has  hardly 
been  equalled  ;  but  his  design  was  inelegant  and  incorrect,  his  color  crude  and 
feeble,  and  his  chiaroscuro  was  simply  the  oscuro  without  the  chiaro.  He  wrote 
an  Analysis  of  Beauty,  which  contains  much  that  is  interesting  to  the  student  of 
art.    This  coarse,  uncultivated  man  of  genius,  died  in  1764, 

226.  A  Midnio^lit  Conversation. 

This  is  a  repetition  of  a  picture  of  grossness  and  revelry,  in 
which  the  Master's  powers  of  satire  are  eminently  displayed ; 
and  which  is  too  well  known  by  numerous  engravings  to 
need  detailed  description.  The  drunken  clergyman  ladling 
out  punch  is  a  portrait  of  the  poet  Churchill. 

227.  From  tlie  '  Harlot's  Progress.'     (Copy.) 

This  is  a  copy  of  one  of  the  famous  series  known  to  all  the 
world  through  engravings  of  all  sorts  and  sizes,  as  '  The 
Harlot's  Progress.'  The  copyist  has  seen  fit  to  make  some 
variations  from  the  print,  as  it  generally  appears.  Perhaps 
he    copied   from   an   earlier   design,  as  it   is  known    that 


ENGLISH   SCHOOL. 


127 


Hogarth  himself  made  very  great  alterations  in  his  plates, — 
and  not  always  for  the  better. 

REYNOLDS. 

Sir  Joshua  Reynolds  was  born  at  Plympton,  on  the  16th  of  July,  1723.  He 
■was  the  son  of  a  clergyman.  He  evinced,  very  early,  his  predilection  for  tho  art 
in  which  he  attained  so  eminent  a  position.  His  first  master  was  Mr-  Hudson,  a 
distinguished  portrait  painter,  whose  studio  he  entered  at  seventeen  years  of  age. 
The  talents  he  evinced  brought  him  many  admirers  and  patrons,  and  nine  years 
after  this  event,  he  went  to  Italy,  where  he  remained  for  three  years,  absorbed  in 
the  study  of  the  works  of  the  great  Masters.  On  the  instituiion  of  the  Royal 
Academy,  in  1768,  he  was  chosen  its  president,  and  received  the  honor  of 
kni'-hthood,  which  it  has  ever  since  been  the  custom  to  bestow  upon  his  successors 
in  that  office.  His  works  are  chiefly  remarkable  for  sweetness  and  richness  of 
color  and  truth  of  chiaroscuro.  His  invention  was  not  fertile  in  original  works ; 
but  in  his  portraits,  which  constitute  the  bulk  of  his  labors,  he  is  never  at  a  loss 
for  graceful  positions  and  pleasing  effects.  He  never  attained  eminence,  or  even 
remarkable  accuracy,  in  design.    He  died  on  the  23d  of  February,  1792. 

228.  Portrait. 

A  young  lady,  in  a  white  satin  robe,  cut  in  the  formless 
fashion  of  the  close  of  the  last  century,  stands  by  a  stone 
balustrade.  Behind  her  is  a  park  with  a  castle  in  the  dis- 
tance. In  her  right  hand  is  a  blue  scarf ;  near  her  left  stands 
a  vase.  The  rich-toned,  pulpy  flesh,  and  the  animated  ex- 
pression of  the  eyes,  are  characteristic  of  the  master,  as  also 
is  the  somewhat  defective  drawing  of  the  latter  features.  ^  A 
httle  primness  must  certainly  have  been  the  characteristic 
expression  of  that  time  among  the  ladies ;  for  all  Sir  Joshua's 
loosely-robed  dames  have  it.     This  is  not  without  it. 

WEST. 

<?ir  Benjamin  West  was  born  at  Springfield,  in  Pennsylvania,  on  the  10th  of 
October  1738.  He  early  showed  a  fondness  for  drawing,  and  it  is  said  that  he 
^eceted  his  first  lessons  in  coloring  from  the  Indians.  He  became  a  portrait 
nainter  in  Philadelphia  and  New  York,  and,  meeting  with  success,  resolved  to 
Cto  Rome  He  remained  in  Italy  three  years,  under  very  advantageous  circum- 
s^cef  He  was  furnished  with  money  by  his  friends,  Mr.  K.l.v,  Mr.  Allen, 


128  BRYAN   GALLERY. 

and  Governor  Hamilton.  He  stopped  in  London  on  his  way  home,  and  was 
received  with  such  favor,  that  he  determined  to  remain  in  England,  and  finally 
succeeded  Sir  Joshua  Reynolds  as  President  of  the  Royal  Academy.  Hischief 
merit  as  a  painter,  is  now  admitted  to  be  the  breaking  down  of  the  conventiona 
use  of  classic  costume  in  historical  pictures.    He  died  in  1820. 

229.  Pallas  aj^p earing  to  Achilles,  after  tlie  death 

of  Patroclus. 

The  wrathful  hero  sits  by  the  body  of  his  dead  compan- 
ion. Minerva  approaches  him  bearing  his  helmet  and  shield, 
and  lays  her  hand  reproachfully  upon  his  shoulder.  The 
tone  of  this  picture  is  pleasing ;  but  the  flesh  has  a  hardness 
and  the  forms  an  artificiality  which,  if  painters  were  apt  to 
be  self-appreciative,  would  account  for  Sir  Benjamin's  pref- 
erence of  the  modern  over  the  ancient  classical  style  of 
dress  :  coats  and  trowsers  cover  a  multitude  of  sins. 

DUG  DE  MONPENSIER. 

230.  View  of  Genessee  Falls. 

This  sketch  is  quite  faithful  as  a  representation  of  the 
locality.  Its  chief  interest,  however,  consists  in  its  having 
been  made  by  the  brother  of  Louis  Phillippe,  when  the 
two  princes  were  on  their  visit  to  this  country,  after  the  first 
French  Revolution. 

***  Collection  Louis  Philliti'e. 


INDEX. 


This  Index  will  enable  tbe  reader  to  find  the  works  of  any  Master  who  is 
represented  in  the  Gallery,  as  well  as  any  bioarraphical  notice  or  particular  de- 
scription in  the  volume  it^folf.  The  first  numbers  are  those  of  the  pictures :  those 
in  the  last  column  refer  to  the  pages  in  which  the  notices  and  descriptions  com- 
mence. 


Andrea  del  Sarto,  No.  38, 
Artois  (Van)  No.  59, 
Asselyn,  No.  60, 


B 


Bartolomeo  (Fra.)  No.  29, 
Battoni,  Nos.  200  and  201, 
Bakhuysen,  Nos.  61  and  62, 
Beerestraten,  No.  63, 
Bega,  No.  64, 
Bergen,  (Van)  No.  65, 
Berghem,  Nos.  66  and  67, 
Bloemen,  (Van)  68,  69  and  70, 
Botticelli,  No.  21, 
Both,  Nos.  71,  72,  73  and  74, 
Boucher,  No.  217, 
Brakenburg,  No.  75, 
Bramer,  No,  76,     . 
Brea,  No.  36, 
Bronzino,  No.  45, 
Brown  (G.  L.)No.  225, 
Brun  (Le)  No.  188, 
Buffalinaco,  Nos.  13  and  14, 
Bvzantine  School,  Nos.  1  and  16, 


Page. 
28 
43 
44 

22 

115 

44 

45 

45 

45 

46 

47 

14 

48 

122 

49 

49 

27 

35 

125 

110 

10 

3 


130 


INDEX. 


c. 


Canaletto,  No.  58, 

42 

Caracci  (Annibale)  Xos.  48  and  49, 

.       37 

Castagno,  No.  19, 

13 

Champagne,  Nos.  'FT  and  78, 

.       50 

Chardin,  No.  202, 

115 

Chryseuning,  No.  219, 

.     123 

Cimabue,  No.  3,                  ... 

6 

Claude,  Nos.  183,  184,  and  184  A.       . 

.     107 

Coques,  No.  80,                 ... 

51 

Correggio,  Nos.  41  and  42,      . 

.       32 

Courtois,  Nos.  189  and  190, 

110 

Cranach,  Nos.  157  and  158, 

.       94 

Cuyp,  Nos.  81  and  82, 

52 

D. 

Debois,  No.  83,                        ... 

.       53 

Dello,  No.  20,        . 

13 

Denner,  Nos.  159  and  160,     . 

.       95 

Dietrich,  Nos.  85  and  86, 

54 

Domeniehino,  No.  50,              ... 

.       37 

Douw,  No.  91,        . 

57 

Durer,  Nos.  161  and  162, 

.       95 

Dyek  (Van)  Nos.  87,  88,  89  and  90, 

54 

Dykemans,  No.  222, 

.     124 

E. 
Eeekhout  (Van  den)  No.  92, 

57 

Eyck  (Van)  No.  93,                ... 

.       58 

Eycken  (Yander)  No.  220, 

F 
Ferrari,  No.  28,                 ... 

124 

22 

Feyre(Le)No.  191, 

.     Ill 

Florentine  School  (Early)  Nos.  39  and  40, 

29 

Fosse  (Dela)No.  192, 

.     Ill 

Fouquieres,  No.  94,            .             .             . 

59 

Freminet,  No.  176, 

.     104 

INDEX. 


131 


G. 

Gaddi,  Xos.  1  and  S, 

Gentileschi,  Xo.  52, 

Glauber,  Xo.  95, 

Giuseppe  d'Arpinas,  Xo.  47, 

Giorgione,  Xos.  30,  31  and  32,  (copy), 

Giottino,  Xos.  10,  11  and  12, 

Giotto,  Xo.  4,         . 

Guido  of  Sienna,  Xo.  2, 

Guido  (School  of)  Xo.  51, 

Greuze,  Xos.  208,  209,  210,  211,  212, 

(School  of )  Xo.  203, 
Griff,  No.  96,  ... 


8 
39 
59 
30 
23 
9 
6 

39 
117 
115 

60 


H. 

Hemling,  No.  97  and  98,  (copy), 
Heyde  (Yander)  No.  99, 
Hobbema,  No.  100, 
Hogarth,  Nos.  226  and  227  (copy), 
Hooghe  (De)  No.  101, 
Hnysmans,  No.  102,    . 


60 
62 
63 
126 
64 
64 


J. 

Jardin  (Du.),  Xos.  103  and  104, 
Jouvenet,  Xos.  193  and  194, 


Klomp,  Xo.,  79 


K. 


L. 


Llanos  y  Valdes,  Xo.  172, 

Largilliere,  (De),  Xo.  195. 

Lely,  Xo.  105,        . 

Lepicier,  Xo.  213, 

Lionardo  da  Vinci,  Xos.  23  and  24, 

Lorenzo,  il  Monaco,  Xo.  9,     . 

Lovini,  Xo.  43, 

0 


65 
112 


51 


102 
112 

66 
120 

15 
9 

34 


132 


INDEX. 


M. 

Maas,  Ko.  106, 
Mabiise,  Xos.  107,  and  108, 
Mantegna,  Xo.  40  (xi.), 
Matsjs,  No.  109, 
Memmi,  K'os.  5  and  6, 
Michel,  K"o.  218, 
Mignard,  jS'os.  185  and  186, 
Molnaer,  (Jan.)  K'o.  110, 
Molnaer,  (Nicholas,)  No.  Ill, 
Montpensier,  (Due  de,)  No  230, 
Moucheron,  No.  112, 
Murillo,  Nos.  169,  IVO  and  111, 


K. 


Neck,  (Van,)  No.  113, 
Neefs,  No.  115, 
Neer,  (Van  der,)  No.  114, 
Netscher,  No.  116, 


O. 


Ocbterveldt,  (Van,)  No.  118, 
Ommeganck,  No.  221, 
Cost,  (Van,)  No.  llT,    . 
Ostade,  (Adrian  Van,)  No.  119, 
do  do  (School  < 

Ostade,  (Isaac  Van,)  No.  120, 


P. 


Palma,  (il  Vecchio,)  No.  46, 

Pater,  No.  199, 

Perugino,  No.  22, 

Poelembnrg,  No.  121, 

Porbus,  No.  122, 

Poussin,  (Nicholas,)  Nos.  177,  178  and  179, 

Poussin,  (Guaspre,)  Nos.  180,  181  and  182 

Prnd'hon,  No.  214, 


. 

67 

.  67 

. 

30 

.  68 

. 

7 

. 

.  123 

. 

109 

. 

.  69 

. 

69 

.  128 

, 

70 

• 

.  100 

.  70 

, 

71 

. 

.  71 

• 

72 

.  78 

. 

124 

, 

.  72 

73 

.  119  A. 

.  74 

• 

74 

.  3(; 

. 

114 

. 

.  14 

. 

74 

, 

.  75 

179,    . 

104 

182, 

.  106 

120 

INDEX.  133 

Q. 

Querfurt,  Xo.  123,         .                .                .  .    T5 

R. 

Raphael,  ]S'os.  25,  26  (copy)  and  27  (copy),  .  .       16 

Rembrandt,  K'os.  124,  125  (copy),  and  126  (copy),  76 

(School  of),  K"o.  127,      .            .  .77 

Reynolds,  (Sir  Joshua),  Iso.  228,               .            .  127 

Rigaud,  ]!s"o.  196,         .            .            .            .  .113 

Robert,  K'o.  204,    .            .            .            .            .  116 
Rokes,  see  Zorg, 

Rubens,  Xos.  128,  129, 130, 131, 132, 133 and  134(copy)  77 

Ruysdael,  ^""03.  135,  136,  and  137,      .            .  .82 

S. 

Salvator  Rosa,  'No.  56,      .            .            .            .  41 

(School  of)  Xo.  57      .             .  .       42 

Sassoferrato,  l!s"o.  55,          .            .            .            .  41 

Sehaal,  No.  217, 122 

Schoen,  No.  164,    .            .            .            .            .  97 

Sebastiano  del  Piombo,  Xo.  37,         .            .  .       27 

Sesto,  No.  44,         .....  35 

Snyders,  Xos.  138  and  139,           ...  83 

Steen,  Xo.  140,            .             .            .             .  .84 

Sueur,  (Le)  Xo.  187,        .            .            .            '  109 

Sully,  Xo.  223, 126 

Sustermans,  Xo.  53,        .            .            .            .  40 

T. 

Teniers,  Xo.  141,  142,  143,  144,  145,  and  146,     .  84 

Terburg,  Xo.  147,       .            .            •            •  .88 

Titian,  Xo.  33,        .             .             .             .             .  24 

(School  of)  Xo3.  34  and  3.5,    .             .  .26 
Tourniere,  Xo.  207,           .            .            .            ,117 

Twelfth  Century,  (School  of)  Xo.  15,             .  .11 


134 


INDEX. 

u. 


Uccello,  Xo,  18,      .            .            .            .            .  12 
Unknown  Artists,  (French  School),  Xos.  1Y3,  174,  and 

115,     ....  lO.-i 
(Flemish  School),  Xos.  15G  A,  and 

156  B,        .             .              .  93 

(Italian  School),  Xo.  54,     .             .  40 

Uytenwael,  Xo.  103,          .            .            .            .  97 


Valkenburg,  Xos.165  and  166,     . 

Vallin,  No.  216,  . 

Vandyck — see  Dyck, 

Venetian  School  (Ancient),  No.  17, 

Velasquez,  Nos.  167  and  168,        . 

Velde  (Adrian  Van  de),  Xo.  150, 

"      (William     "     ),  Nos.  148  and  149, 
Verboom,  No.  151, 
Vernet  (Joseph)  Nos.  205  and  206, 
Vernet  (Horace)  Nos.  215,  and215  (A) 
Vries  (De)  No.  84,  .  . 

W. 

Watteau,  Nos.  197  and  198, 
Weeninx,  No.  152, 
AVest  (Sir  Benjamin)  No.  229, 
West,  (W.)  No.  224, 
Woiivermans,  No.  153  and  154. 
Wynants,  No.  155, 


98 
122 

11 
99 
89 
88 
90 
116 
121 
53 


114 
90 
127 
125 
91 
92 


Zorg,  No.  156. 


92 


^^■, 


